Dragos Grusea

The Origin of Time in Schelling’s Weltalter (The Ages of the World). This paper traces the development of the concept of time in Schelling’s ”Ages of the World”, from the initial separation of forces within the present moment to the primordial Scheidung (separation) in the original being. The central thesis advanced here is that Schelling introduces an intermediate temporality: an inner time of eternity understood as a chronogenic transformation. This model, I argue, is appropriated from §4 of Fichte’s Foundations of the Entire Doctrine of Knowledge (1794). In the final section, I will attempt to sketch a brief outline of a transcendental reconstruction of Schelling’s theory – independent of its theological background – on the basis of his interpretation of the Kantian concept of causality

Cohen’s “Logic of Pure Knowledge” marks a transformation of transcendental philosophy through its new and radical interpretation of pure thinking. For Cohen, thought is in its essence creative and needs no external elements in order to produce knowledge. This study is an attempt to reconstruct the way in which Cohen understands how thinking can create its pure content from nothing. My thesis is that Kant’s distinction between the determinable and the determining I offers the theoretical context in which the productivity of thinking in Cohen’s system can be understood. Thinking creates its pure content by questioning the nothing that stands before it.

If we accept that Kandinsky developed a systematic theory of the fundamentals of painting, we must ask what is the central concept underlying this attempt. This paper argues for the thesis that objectless vibration plays a central role in the reconstruction proposed Kandinsky’s first book, ”Concerning the Spiritual in Art”. This kind of vibration includes as a virtual field both shapes, sounds and colors. All these “fall” in an organized way from the virtual vibrations, and the purpose of abstract painting is to lift the mind beyond the specific distinctions of the visible world of objects to the abstract level of primordial vibrations. The article examines the origin, functions, and the effect this concept has on color theory.

Thomas Kuhn explicitly states that the paradigm shift implies a change of the world. This is because the paradigm is seen as constitutive of nature itself. In this paper, I will try to interpret this thesis by inscribing Kuhn's theory in the larger Kantian theoretical framework. As the last chapter of the „Critique of pure reason” shows, Kant thought that reason is inherently historical and evolves through revolutions. This dynamical perspective on reason comes clearly to light especially in the „Appendix” to the „transcendental Dialectic”, where the Idea of reason is seen as an abstract theoretical framework that makes possible and guides the understanding. It will be shown that the Kuhnian paradigm and the Kantian transcendental Ideea function in similar ways. Both serve as an orientation for scientific research, they make rules possible, and constitute nature in a weak, indirect, way. The relation between Ideea and understanding in the first „Critique” parallels in many ways the kuhnian relation between paradigm and normal science.

In this paper I argue for the following two related claims. First, the science of phoronomy from Kant's Metaphysical Foundations of Natural Science is grounded in the duplication of space. Second, this duplication is made possible through the self-localization of the subject, as Kant shows in the "Gegnden-Schrift". The thesis of this paper is that the self-localization transforms space into an object that can be cinematically moved and that this action sets the ground for a science of phoronomy, which presupposes the existence of at least two spaces. In the end, the other endpoint of the Kantian determination of space is discussed, namely space understood as an idea of reason.

This paper aims to show that Lessing develops in his aesthetics a pre-Kantian philosophy of consciousness. The concept of virtuality that the german writer puts forward in his essay Laocoon implies an interweaving of temporal dimensions similar to the threefold temporal synthesis described by Kant in the transcendental deduction of the Critique of Pure Reason. But whereas Kant thematizes an a priori of consciousness, Lessing is in search of an a priori of plastic art. It will be seen that perfect sculpture presupposes the choice of that moment in time which can open the imagination to the past and the future in a way that enriches the present by transforming it into a "pregnant moment". The final aim of the article is to trace the genesis of the concept of simultaneity of temporal dimensions presupposed by the idea of the pregnant moment, and its implications for the idea of the temporality of consciousness.

According to the transcendental Aesthetic of the Critique of pure reason, there are two properties of time that cannot be intellectualized: passage and infinitude. This study tries to show that these essential properties of time come to light in Kant’s Critique of Judgment. The contemplation of beauty will be understood as a non-successive time and the wonder that we experience in seeing the sublime will be understood through Kant’s concept of infinite moment. These two aesthetic concepts of time will be integrated into Kant’s broader view of time as developed in the first Critique.