By Rebecca Kukla
This 2006 quantity explores the connection among Kant's aesthetic concept and his serious epistemology as articulated within the Critique of natural cause and the Critique of the facility of Judgment. The essays, written especially for this quantity, discover middle components of Kant's epistemology, equivalent to his notions of discursive figuring out, adventure, and aim judgment. in addition they show a wealthy take hold of of Kant's serious epistemology that permits a deeper realizing of his aesthetics. jointly, the essays demonstrate that Kant's severe venture, and the dialectics of aesthetics and cognition inside of it, remains to be appropriate to modern debates in epistemology, philosophy of brain, and the character of expertise and objectivity. The publication additionally yields very important classes in regards to the ineliminable, but problematical position of mind's eye, sensibility and aesthetic adventure in notion and cognition.
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Additional resources for Aesthetics and cognition in Kant's critical philosophy
And it is always possible – using the sorts of maneuvers typified by Goodman’s grue and Kripke’s quus – to come up with any number of features held in common by a finite group of objects, so that any finite sample can be regarded as exemplifying any number of nonstandard kinds.
This second sense of “universal” is unlike the first in that it alludes not to a plurality of objects, but rather to a plurality of subjects. ’ I want to suggest that when Kant speaks of judgment as “thinking the particular as contained under the universal,” he has the second as well as the first sense of universality in mind. “Thinking the particular under the universal” means not only thinking of an object as having a feature shared in common with a multiplicity of other objects, but also thinking of one’s own particular response to an object as universal or universally valid, as one does in a judgment of taste.
For as Kant makes clear in the Analytic of the Critique of Pure Reason, experience involves not just the reception of representations in sensibility, but an activity of imagination, called synthesis, through which the manifold of sensible impressions is given order and unity. Experience, understood as the product of this activity, still consists in intuitions – that is, of singular representations – but these intuitions are structured or synthesized by the imagination in a way that allows for the representation of generality.
Aesthetics and cognition in Kant's critical philosophy by Rebecca Kukla