The book addresses the debate on whether the representational content of perceptual experience is conceptual or non-conceptual, by bringing out the points of comparison between Kant’s conception of intuition and the contemporary accounts of non-conceptual content, encountered in the writings of G. Evans, Ch. Peacocke, F. Dretske, T. Crane, M. G. F. Martin, and others. Following R. Aquila’s reading of Kant’s conception of representation, the author argues that intuition (Anschauung, intuitus) provides the most basic form of intentionality – pre-conceptual reference to objects, which underlies the acts of conceptualization and judgment. The book advances an interpretation of Kant’s theory of experience in the light of such questions as: Does conscious perceptual experience of objects require that subjects possess concepts of these objects? Do the contents of experience differ from the contents of beliefs or judgments? And if they do, what accounts for this difference? These questions take us to the most puzzling philosophical topic of the relation between mind and world. Anna Tomaszewska argues that this relation does not involve conceptual capacities alone but also, on the most basic level of perceptual experience, pre-cognitive “sensible intuition,” enabling relatedness to objects that remains uninformed by concepts. In a nutshell, on her interpretation, Kant can be taken to subscribe to the view that perceptual cognition does not have rational underpinnings.

This book offers an array of important perspectives on Kant and nonconceptualism from some of the leading scholars in current Kant studies. As well as discussing the various arguments surrounding Kantian nonconceptualism, the book provides broad insight into the theory of perception, philosophy of mind, philosophy of mathematics, epistemology, and aesthetics. His idealism aside, Kantian nonconceptualism is the most topical contemporary issue in Kant’s theoretical philosophy. In this collection of specially commissioned essays, major players in the current debate, including Robert Hanna and Lucy Allais, engage with each other and with the broader literature in the field addressing all the important aspects of Kantian nonconceptualism. Among other topics, the authors analyse the notion of intuition and the conditions of its generation, Kant’s theory of space, including his pre-Critical view of space, the relation between nonconceptualism and the Transcendental Deduction, and various challenges to both conceptualist and nonconceptualist interpretations of Kant. Two further chapters explore a prominent Hegelian conceptualist reading of Kant and Kant’s nonconceptualist position in the Third Critique. The volume also contains a helpful survey of the recent literature on Kant and nonconceptual content. Kantian Nonconceptualism provides a comprehensive overview of recent perspectives on Kant and nonconceptual content, and will be a key resource for Kant scholars and philosophers interested in the topic of nonconceptualism.

This book offers new perspectives on the theoretical elements of the Opus postumum (OP), Kant’s project of a final work which remained unknown until eighty years after his death. The contributors read the OP as a central work in establishing the relation between Kant’s transcendental philosophy, his natural philosophy, practical philosophy, philosophy of religion, metaphysics, and his broader epistemology. Interpreting the OP is an important task because it helps reveal how Kant himself tried to correct and develop his critical philosophy. It also sheds light on the foundational role of the three Critiques for other philosophical inquiries, as well as the unified philosophical system that Kant sought to establish. The chapters in this volume address a range of topics relevant to the epistemological and theoretical problems raised in the OP, including the transition from the Metaphysical Foundations of Natural Science to physics as an answer to a deficiency in critical thought; the notion of ether and, more specifically, its transcendental deduction; self-affection and the self-positing of the subject; and the idea of God and the system of ideas in the highest standpoint of transcendental philosophy. Perspectives on Kant’s Opus postumum will be of interest to upper-level students and scholars working on Kant.

Danto argues that recent developments in art--in particular the production of works that cannot be told from ordinary things--make urgent the need for a new theory of art. He demonstrates the relationship between philosophy and art and the connections that hold between art, social institutions, and art history.

How does perceptual experience make us knowledgeable about the world? In this book Nadja El Kassar argues that an informed answer requires a novel theory of perception: perceptual experience involves conceptual capacities and consists in a relation between a perceiver and the world. Contemporary theories of perception disagree about the role of content and conceptual capacities in perceptual experience. In her analysis El Kassar scrutinizes the arguments of conceptualist and relationist theories, thereby exposing their limitations for explaining the epistemic role of perceptual experience. Against this background she develops her novel theory of epistemically significant perception. Her theory improves on current accounts by encompassing both the epistemic role of perceptual experiences and its perceptual character. Central claims of her theory receive additional support from work in vision science, making this book an original contribution to the philosophy of perception.

The Oxford Handbook of Philosophy of Perception is a survey by leading philosophical thinkers of contemporary issues and new thinking in philosophy of perception. It includes sections on the history of the subject, introductions to contemporary issues in the epistemology, ontology and aesthetics of perception, treatments of the individual sense modalities and of the things we perceive by means of them, and a consideration of how perceptual information is integrated and consolidated. New analytic tools and applications to other areas of philosophy are discussed in depth. Each of the forty-five entries is written by a leading expert, some collaborating with younger figures; each seeks to introduce the reader to a broad range of issues. All contain new ideas on the topics covered; together they demonstrate the vigour and innovative zeal of a young field. The book is accessible to anybody who has an intellectual interest in issues concerning perception.

Immanuel Kant's 'The Critique of Judgment' explores the realms of aesthetic judgment and teleological judgment in a rigorous and thought-provoking manner. In this seminal work, Kant delves into the concepts of beauty, taste, and the nature of artistic creation. He presents a detailed analysis of how judgment functions in relation to aesthetics, weaving together philosophical insights with practical examples to illustrate his points. Through his meticulous argumentation, Kant lays the groundwork for the understanding of the role of judgment in appreciating art and nature. The book's dense yet insightful prose engages readers in a contemplative journey through the intersections of art, nature, and human perception. Immanuel Kant, a renowned German philosopher of the Enlightenment era, was influenced by thinkers such as Leibniz and Rousseau. His deep interest in metaphysics and epistemology led him to ponder the fundamental principles that govern human experience. 'The Critique of Judgment' reflects Kant's comprehensive philosophical system, bridging the gap between his earlier works on metaphysics and ethics. I highly recommend 'The Critique of Judgment' to readers who are interested in delving into the complexities of aesthetic and teleological judgment. Kant's nuanced arguments and incisive analysis pave the way for a deeper appreciation of art, nature, and the human mind. This book is essential reading for anyone seeking to explore the intersections of philosophy, aesthetics, and the nature of beauty.