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!1. Foundations 2. The objective nature
of the subject 3. Objectivity/
Subjectivity 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/
Subjectivity
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
Homer’s Popularity Over Time
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Athens
The Standard of Taste and The Test of Time
Paris
London
Rome
Bach’s Popularity Over Time
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25
50
75
100
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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
Phenoumenallogi
c
aesthetic
concept
intuition
object
The analytic + the aesthetic constitutes an object. Both are needed, neither by itself is enough.
Phenoumenal
logi
c
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
logi
c
aesthetic
concept
intuition
object
Noumenal
Ding an Sich
concept
intuition
Noumenal
Phenoumenal
logi
c
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
logi
c
aesthetic
concept
intuition
object
Noumenal
Ding an Sich
concept
intuitionJudgements about facts, by contrast, are
conceptual
Noumenal
Phenoumenal
logi
c
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
logi
c
aesthetic
concept
intuition
object
Noumenal
Ding an Sich
concept
intuition
Judgements about beauty have analogous vectors but without
conceptual or objective grounding
Noumenal
Phenoumenal
logi
c
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
logi
c
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
logi
c
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
logi
c
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
logi
c
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
logi
c
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
logi
c
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
logi
c
aesthetic
concept
intuition
object
Ding an Sich
…NoumenalFor 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
logi
c
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
logi
c
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
logi
c
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/ purpose
feeling/ desire
Phenoumenal
logi
c
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/ purpose
feeling/ desire
Phenoumenal
logi
c
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/ purpose
feeling/ desire
Phenoumenal
logi
c
aesthetic
concept
intuition
object
Ding an Sich
…Noumenal
The 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
logi
c
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 delight
Free 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?
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