460.03 subjectivity objectively
TRANSCRIPT
1. Foundations
2. The objective nature
of the subject
3. Objectivity/Subjectivi
ty
4. Natural Philosophy
to Science
5. Static to Dynamic
Empiricism
RationalismDescartes
1596-1650
Hume
1711-1776
Berkeley
1685-1753
Leibniz
1646-1716
Galileo
1564-1642
Newton
1642-1727
Linneaus
1707-1778
Lavoisier
1743-1794
Darwin
1809-1882
1. Foundations
2. The objective nature
of the subject
3. Objectivity/Subjectivi
ty
Empiricism
RationalismDescartes
1596-1650
Hume
1711-1776
HUME
All knowledge comes from experience
images from http://www.cerebromente.org.br/n16/mente/senses1.html
images from http://www.create-a-healthy-flexible-body.com/images/pain-relief-using-the-mind.jpg
HUME
All knowledge comes from experience
“On a long journey of human life, faith is the best of companions; it
is the best refreshment on the journey; and it is the greatest property.”
Gautama Siddharta, the founder of Buddhism, 563-483 B.C.
Practice loving kindness: do not do utno others as you would not have
them do to you
Confucius, The Confucian Analects
I have set before you life and
death, blessing and cursing:
therefore choose life, that both
thou and thy seed may live
Moses, Deuteronomy 30:19
But with love, we are creative.
With it, we march tirelessly.
With it, and with it alone, we
are able to sacrifice for others.
Chief Dan George
'You shall love your neighbor as
yourself.'
Jesus, Mark 12:28-31
0
25
50
75
100
125
700 BCE 350 BCE 0 350 ACE 700 ACE 1050 ACE 1750 ACE 2000 ACE
Homer’s Popularity Over Time
Athens
The Standard of Taste and
The Test of Time
Paris
London
Rome
0
25
50
75
100
125
700 BCE 350 BCE 0 350 ACE 700 ACE 1050 ACE 1750 ACE 2000 ACE
Bach’s Popularity Over Time
The Character of the Critic
1.Strong Sense
2.Delicate Sentiment
3.Practice
4.Comparison
5.Free from Prejudice
Rachmaninov:
Symphony No. 2 in E Minor,
Op. 27: III. Adagio
Baltimore Symphony Orchestra &
David Zinman
Rachmaninov:
Symphony No. 2 in E Minor,
Op. 27: III. Adagio
Mikhail Pletnev &
Russian National Orchestra
Phenoumenallogic
aesthetic
concept
intuition
object
The analytic + the aesthetic constitutes an object. Both
are needed, neither by itself is enough.
Phenoumenal
logic
aesthetic
concept
intuition
object
Part of the concept of
an object is that it is a
thing in itself— a Ding
an Sich that exists
outside the
phenoumenal, in the
noumenal
Ding an
Sich
concept
intuition
Phenoumenal
logic
aesthetic
concept
intuition
object
Noumenal
Ding an
Sich
concept
intuition
Noumenal
Phenoumenal
logic
aesthetic
concept
intuition
object
Noumenal
Ding an
Sich
concept
intuition
In this technical sense
judgements about
beauty are intuitive,
aesthetic, and non-
conceptual
Noumenal
Phenoumenal
logic
aesthetic
concept
intuition
object
Noumenal
Ding an
Sich
concept
intuitionJudgements about
facts, by contrast, are
conceptual
Noumenal
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
concept
intuition
Such judgements are
objective in that they
have four conceptual
vectors: quality,
quantity, relation, and
modality
Noumenal
Phenoumenal
logic
aesthetic
concept
intuition
object
Noumenal
Ding an
Sich
concept
intuition
Judgements about
beauty have
analogous vectors but
without conceptual or
objective grounding
Noumenal
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
concept
intuition
Noumenal
Definition of the Beautiful derived from
the First Moment: Taste is the faculty
of estimating an object or a mode of
representation by means of a delight or
aversion apart from any interest. The
object of such a delight is called
beautiful.
FIRST MOMENT. Of the Judgement of Taste: Moment of
Quality.
The judgement of taste is
aesthetic.
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
concept
intuition
Noumenal
In order to distinguish whether anything is
beautiful or not, we refer the
representation, not by the understanding
to the object for cognition, but by the
imagination (perhaps in conjunction with
the understanding) to the subject and its
feeling of pleasure or pain.
FIRST MOMENT. Of the Judgement of Taste: Moment of
Quality.
The judgement of taste is
aesthetic.
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
existence
intuition
NoumenalWe wish only to know if this mere
representation of the object is
accompanied in me with satisfaction,
however indifferent I may be as regards
the existence of the object of this
representation. We easily see that, in
saying it is beautiful and in showing that I
have taste, I am concerned, not with that
in which I depend on the existence of the
object, but with that which I make out of
this representation in myself.
FIRST MOMENT. Of the Judgement of Taste: Moment of
Quality.
The judgement of taste is
aesthetic.
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
representation
as sensation/
existence
feeling/
desire
NoumenalIf a determination of the feeling of
pleasure or pain is called sensation, this
expression signifies something quite
different from what I mean when I call the
representation of a thing sensation. For in
the latter case the representation is
referred to the object, in the former simply
to the subject.
The green color of the meadows belongs
to objective sensation; the pleasantness
of this belongs to subjective sensation.
FIRST MOMENT. Of the Judgement of Taste: Moment of
Quality.
The judgement of taste is
aesthetic.
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
utility
feeling/
desire
Noumenal
That which pleases only as a means we
call good for something (the useful), but
that which pleases for itself is good in
itself. In both there is always involved the
concept of a purpose, and consequently
the relation of reason to the (at least
possible) volition, and thus a satisfaction
in the presence of an object or an action,
i.e. some kind of interest.
FIRST MOMENT. Of the Judgement of Taste: Moment of
Quality.
The judgement of taste is
aesthetic.
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
…Noumenal
Taste is the faculty of estimating an object
or a mode of representation by means of
a delight or aversion apart from any
interest.
FIRST MOMENT. Of the Judgement of Taste: Moment of
Quality.
the beautiful is disinterested
beautiful
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
…Noumenal
Definition of the Beautiful drawn from the
Second Moment:
The beautiful is that which, apart from a
concept, pleases universally.
SECOND MOMENT. Of the Judgement of Taste: Moment of
Quantity.
The beautiful is that which, apart
from concepts, is represented as the
Object of a universal delight.
beautiful
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
…Noumenal
For since it does not rest on any
inclination of the subject (nor upon any
other premeditated interest), but since the
person who judges feels himself quite
free as regards the satisfaction which he
attaches to the object, he cannot find the
ground of this satisfaction in any private
conditions connected with his own
subject, and hence it must be regarded as
grounded on what he can presuppose in
every other person.
SECOND MOMENT. Of the Judgement of Taste: Moment of
Quantity.
feeling/
desire
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
finalityNoumenal
Definition of the Beautiful drawn from the
Third Moment:
Beauty is the form of finality in an object,
so far as perceived in it apart from the
representation of an end.
THIRD MOMENT. Of Judgements of Taste: Moment of the
relation of the Ends brought under Review in such Judgements.
beautiful
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
finalityNoumenalthe causality of a concept in respect of its
object is its purposiveness (forma finalis).
Where then not merely the cognition of an
object but the object itself (its form and
existence) is thought as an effect only
possible by means of the concept of this
latter, there we think a purpose. The
representation of the effect is here the
determining ground of its cause and
precedes it.
THIRD MOMENT. Of Judgements of Taste: Moment of the
relation of the Ends brought under Review in such Judgements.
beautifulpurposiveness/
purpose
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
finalityNoumenal
Therefore it can be nothing else than the
subjective purposiveness in the
representation of an object without any
purpose (either objective or subjective),
and thus it is the mere form of
purposiveness in the representation by by
which an object is given to us, so far as
we are conscious of it, which constitutes
the satisfaction that we without a concept
judge to be universally communicable;
and, consequently, this is the determining
ground of the judgment of taste.
THIRD MOMENT. Of Judgements of Taste: Moment of the
relation of the Ends brought under Review in such Judgements.
beautiful
purposiveness/
purposefeeling/
desire
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
finalityNoumenal
Objective purposiveness can only be
cognized by means of the reference of the
manifold to a definite purpose, and
therefore only through a concept. From
this alone it is plain that the beautiful, the
judging of which has at its basis a merely
formal purposiveness, i.e. a
purposiveness without purpose, is quite
independent of the concept of the good,
because the latter presupposes an
objective purposiveness, i.e. the
reference of the object to a definite
purpose. Objective purposiveness is
either external, i.e. the utility,
THIRD MOMENT. Of Judgements of Taste: Moment of the
relation of the Ends brought under Review in such Judgements.
beautiful
purposiveness/
purposefeeling/
desire
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
finalityNoumenal
an aesthetical judgment is unique of its
kind and gives absolutely no cognition of
the object. On the contrary, it simply
refers the representation, by which an
object is given, to the subject, and brings
to our notice no characteristic of the
object, but only the purposive form in the
determination of the representative
powers which are occupying themselves
therewith. The judgment is called
aesthetical just because its determining
ground is not a concept, but the feeling (of
internal sense) of that harmony in the play
of the mental powers, so far as it can be
felt in sensation.
THIRD MOMENT. Of Judgements of Taste: Moment of the
relation of the Ends brought under Review in such Judgements.
beautiful
purposiveness/
purposefeeling/
desire
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
…NoumenalThe judgment of taste requires the
agreement of everyone, and he who
describes anything as beautiful claims
that everyone ought to give his approval
to the object in question and also
describe it as beautiful. The ought in the
aesthetical judgment is therefore
pronounced in accordance with all the
data which are required for judging, and
yet is only conditioned.
FOURTH MOMENT. Of the Judgement of Taste: Moment of the
Modality of the Delight in the Object.
beautiful/
ought
Phenoumenal
logic
aesthetic
concept
intuition
object
Ding an
Sich
…Noumenal
But such a principle could only be
regarded as a common sense, which is
essentially different from common
understanding which people sometimes
call common sense (sensus communis );
for the latter does not judge by feeling but
always by concepts, although ordinarily
only as by obscurely represented
principles. Hence it is only under the
presupposition that there is a common
sense (by which we do not understand an
external sense, but the effect resulting
from the free play of our cognitive
powers)—it is only under this
presupposition, I say, that the judgment of
taste can be laid down.
FOURTH MOMENT. Of the Judgement of Taste: Moment of the
Modality of the Delight in the Object.
beautiful/
sensus communis
QualityQuantity
Relations Modality
Necessary
delightFree
play
Universal
delight
Aesthetics/
disinterested
GENERAL REMARK ON THE FIRST SECTION OF THE ANALYTIC
If we seek the result of the preceding analysis, we find that everything
runs up into this concept of taste—that it is a faculty for judging an
object in reference to the imagination’s free conformity to law.
REFLECTIONS
What aesthetic terms did people in the film use to describe the artwork? The
environment? What aesthetic terms would you use to describe the artwork or the
environment?
What aesthetic terms would you use to describe Running Fence, the film (including
the soundtrack and the plot)?
Look up some critic’s views on either the film or the artwork—how do they compare
with Hume’s Ideal Critic? Will either the film or the artwork stand the test of time?
Which aesthetic terms you’ve noted above fit Kant’s First Moment
(disinterestedness)? Which don’t?
Which aesthetic terms you’ve noted above fit Kant’s Third Moment (free play)?
Which don’t?