Jessica Williams

In this paper, I argue that Kant has a far more communitarian theory of aesthetic life than is usually acknowledged. I focus on two aspects of Kant’s theory that might otherwise be taken to support an individualist reading, namely, Kant’s emphasis on aesthetic autonomy and his characterization of judgments of taste as involving demands for agreement. I argue that the full expression of autonomy in fact requires being a member of an aesthetic community and that within such a community, judgments of taste are issued as invitations to others to engage their faculties towards the goal of shared aesthetic appreciation.

According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never compel us. In this paper, I develop a Kantian account of the normative force of aesthetic reasons. While Kant would likely agree that aesthetic reasons do not give rise to obligations, his account nevertheless gives us the resources for explaining how aesthetic reasons can still have more force than merely enticing reasons. This account appeals to the distinct normativity of aesthetic judgments on Kant's theory and the way in which this kind of normativity structures aesthetic exchanges with other judging subjects. I argue that, in addition to the moral reasons we have for appreciating and preserving beauty, Kant’s account can accommodate distinctly aesthetic reasons for doing so that stem from our membership in aesthetic communities.

While Kant was arguably as deeply engaged with the emerging special sciences of his time as he was with Newtonian physics, there is a deep tension in his treatment of these disciplines. On the one hand, Kant endorses a reductionist approach in natural science. On the other hand, Kant is committed to a variety of anti-reductionist positions in empirical psychology, chemistry, and the emerging biological sciences. This chapter examines the precise form that Kant’s anti-reductionism takes in each of these domains and the corresponding set of questions about the extent to which each of these constitutes a genuine science for Kant.

The harmonious free play of the imagination and understanding is at the heart of Kant’s account of beauty in the Critique of the Power of Judgement, but interpreters have long struggled to determine what Kant means when he claims the faculties are in a state of free play. In this article, I develop an interpretation of the free play of the faculties in terms of the freedom of attention. By appealing to the different way that we attend to objects in aesthetic experience, we can explain how the faculties are free, even when the subject already possesses a concept of the object and is bound to the determinate form of the object in perception.

In the Critique of Judgment, Kant claims that genius is a talent for art, but not for science. Despite his restriction of genius to the domain of fine art, several recent interpreters have suggested that genius has a role to play in Kant’s account of cognition in general and scientific practice in particular. In this paper, I explore Kant’s reasons for excluding genius from science as well as the reasons that one might nevertheless be tempted to think that his account allows room for the scientific genius. I then argue that Kant’s concerns are not only epistemic, but also moral, and together, they give us good reason for resisting the veneration of genius

In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of Judgment, I reconstruct Kant’s account of aesthetic attention. On this account, aesthetic attention is simultaneously directed at the form of an object and at the judging subject’s own mental states as she attends to the object. In the experience of beauty, we specifically attend to the harmonious relation between the faculties of imagination and understanding.

In his introduction, Gerad Gentry notes that "the imagination is important not only because it is central to one of the most productive and influential periods in the history of philosophy, but also because it represents a topic of substantial relevance to contemporary debates in philosophy". Readers with contemporary interests in the imagination who are looking for a general introduction to its treatment by German Idealists and Romantics will be disappointed. Most of the essays in this volume presuppose familiarity with the respective philosophers and their technical vocabularies. Specialists, especially those who work on German Idealism, will find much of interest in this volume, which is divided into three...

In this paper, I argue that although Kant’s account of empirical schemata in the Critique of Pure Reason is primarily used to explain the shared content of intuitions and empirical concepts, it is also informed by methodological problems in natural history. I argue that empirical schemata, which are rules for determining the spatiotemporal form of objects, not only serve to connect individual intuitions with concepts, but also concern the very features of objects on the basis of which they were connected and ordered in taxonomic systems based on similarity of form. I then suggest that Kant likely had scientific illustrations in mind in his discussion of empirical images in the Schematism chapter and that his account of schemata can help explain the epistemic function of these images in early modern science.

Is Kant a conceptualist or a nonconceptualist? Very roughly, this amounts to the following question: Do intuitions depend on concepts in order to represent objects? Much recent Kant scholarship is devoted to answering this question, which is of interest not only for its connection to contemporary debates in philosophy of mind and perception, but also because the answer one provides has important implications for how one understands crucial features of Kant’s account of cognition. In this extended review essay, I examine how the authors in this volume, most of whom adopt some version of nonconceptualism, approach the following three questions: (1) Is the unity of the pure intuition of space as an all-encompassing whole independent of the understanding, and if so, what follows with respect to the unity of empirical intuitions? (2) When Kant says that all objects of the senses stand under the categories, does this mean that the categories play a role in generating intuitions, or is there a way of understanding this claim that is compatible with nonconceptualism (according to which intuitions do not depend on concepts in order to be intuitions)? And finally, (3) Are intuitions representational or relational states and what implications does this have for how we understand the role of intuitions in establishing real possibility?

In this paper, I propose a novel interpretation of the role of the understanding in generating the unity of space and time. On the account I propose, we must distinguish between the unity that belongs to determinate spaces and times – which is a result of category-guided synthesis and which is Kant’s primary focus in §26 of the B-Deduction, including the famous B160–1n – and the unity that belongs to space and time themselves as all-encompassing structures. Non-conceptualist readers of Kant have argued that this latter unity cannot be the product of categorial synthesis. While they are correct that this unity is not the product of any particular act of category-guided synthesis, I argue that conceptualists are right to nevertheless attribute this unity to the understanding. I argue that it is a result of what we can think of as the ‘original’ synthesis of understanding and sensibility themselves – it is a synthesis, moreover, in which the whole is logically prior to the parts.