•  12
    Self-Standing Beauty: Tracing Kant’s Views on Purpose-Based Beauty
    Southwest Philosophy Review 35 (1): 7-16. 2019.
    In his recent article, “Beauty and Utility in Kant’s Aesthetics: The Origins of Adherent Beauty,” Robert Clewis aims to offer a fresh perspective on Kant’s views on the relation between beauty and utility. While, admittedly, a fresh approach is hard to come by, given the extensive treatment of the topic, Clewis thinks that a study of its historical context and origins might give us the needed edge. The most interesting and novel aspect of Clewis’s discussion is his detailed treatment of Kant’s c…Read more
  •  11
    Thinking with Kant's Critique of Judgment by Michel Chaouli (review)
    Journal of the History of Philosophy 56 (4): 762-763. 2018.
    Books on Kant's Critique of the Power of Judgment usually fall into one of the following sorts: introductions, in-depth companions, scholarly work offering specific interpretations of certain aspects of the book. Where does Michel Chaouli's book fit within this taxonomy? Reading the preface and the first few dozen pages, one gets the impression that it falls under the third rubric, aiming to defend a specific interpretation of Kant's aesthetic theory: in making a judgment of taste, our imaginati…Read more
  •  34
    Kant on Informed Pure Judgments of Taste
    Journal of Aesthetics and Art Criticism 76 (2): 163-174. 2018.
    Two dominant interpretations of Kant's notion of adherent beauty, the conjunctive view and the incorporation view, provide an account of how to form informed aesthetic assessments concerning artworks. According to both accounts, judgments of perfection play a crucial role in making informed, although impure, judgments of taste. These accounts only examine aesthetic responses to objects that meet or fail to meet the expectations we have regarding what they ought to be. I demonstrate that Kant's w…Read more
  •  62
    Why didn’t Kant think highly of music?
    In Violetta Waibel & Margit Ruffing (eds.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses, De Gruyter. pp. 3141-3148. 2018.
    In this paper, in answering the question why Kant didn’t think very highly of music, I argue that for Kant (i) music unlike other art forms, lends itself more easily to combination judgments involving judgments of sense, which increases the propensity to make aesthetic mistakes and is ill-suited as an activity for improving one’s taste; (ii) music expresses aesthetic ideas and presents rational ideas only by taking advantage of existing associations while other art forms do so by breaking with t…Read more
  •  41
    A Kantian Theory of Art Criticism
    Dissertation, University of Alberta. 2016.
    I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective principles of tast…Read more
  •  39
    The Science of Culture and the Phenomenology of Styles by Renato Barilli (review)
    University of Toronto Quarterly 83 (2): 469-470. 2014.
  •  62
    My aim in this paper is to expose a misrepresentation of Jean-Luc Nancy’s ideas on community in the secondary literature. I argue that discussions of Nancy’s work have failed to recognize a transformation that has occurred in his later thought, which distances him from Jacques Derrida. I propose that Nancy’s later work points the way beyond the “persistence of unhappy consciousness” in deconstruction through allowing for the possibility of the creation of a world alternative to globalization. Re…Read more
  •  59
    A Kantian Hybrid Theory of Art Criticism: A Particularist Appeal to the Generalists
    Journal of Aesthetics and Art Criticism 74 (4): 397-411. 2016.
    Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, …Read more