From The Art and Popular Culture Encyclopedia
'Kant's famous definition of the beautiful. "That is beautiful," says Kant, "which pleases without interesting." Without interesting! Compare this definition with this other one [...] by Stendhal, who once called the beautiful une promesse de bonheur. Here, at any rate, the one point which Kant makes prominent in the aesthetic position is repudiated and eliminated—le désinteressement. Who is right, Kant or Stendhal?' --Nietzsche, On the Genealogy of Morality
Kant describes the direct appeal to the senses as "barbaric." In Critique of Judgment, one finds "Any taste remains barbaric if its liking requires that charms and emotions be mingled in, let alone if it makes these the standard of its approval".
German philosopher Immanuel Kant discusses the subjective nature of aesthetic qualities and experiences in Observations on the Feeling of the Beautiful and Sublime, (1764). His contribution to aesthetic theory is further developed in the Critique of Judgment (1790) where he investigates the possibility and logical status of "judgments of taste." In the "Critique of Aesthetic Judgment," the first major division of the Critique of Judgment, Kant used the term "aesthetic" in a manner that is, according to Kant scholar W.H. Walsh, its modern sense. Prior to this, in the Critique of Pure Reason, Kant had, in order to note the essential differences between judgments of taste, moral judgments, and scientific judgments, abandoned the use of the term "aesthetic" as "designating the critique of taste," noting that judgments of taste could never be "directed" by "laws a priori". After Baumgarten, who wrote Aesthetica (1750–58), Kant was one of the first philosophers to develop and integrate aesthetic theory into a unified and comprehensive philosophical system, utilizing ideas that played an integral role throughout his philosophy.
In the chapter "Analytic of the Beautiful" of the Critique of Judgment, Kant states that beauty is not a property of an artwork or natural phenomenon, but is instead a consciousness of the pleasure which attends the 'free play' of the imagination and the understanding. Even though it appears that we are using reason to decide that which is beautiful, the judgment is not a cognitive judgment, "and is consequently not logical, but aesthetical" (§ 1). A pure judgement of taste is in fact subjective insofar as it refers to the emotional response of the subject and is based upon nothing but esteem for an object itself: it is a disinterested pleasure, and we feel that pure judgements of taste, i.e. judgements of beauty, lay claim to universal validity (§§20–22). It is important to note that this universal validity is not derived from a determinate concept of beauty but from common sense. Kant also believed that a judgement of taste shares characteristics engaged in a moral judgement: both are disinterested, and we hold them to be universal. In the chapter "Analytic of the Sublime" Kant identifies the sublime as an aesthetic quality which, like beauty, is subjective, but unlike beauty refers to an indeterminate relationship between the faculties of the imagination and of reason, and shares the character of moral judgments in the use of reason. The feeling of the sublime, itself divided into two distinct modes (the mathematical sublime and the dynamical sublime), describe two subjective moments both of which concern the relationship of the faculty of the imagination to reason. The mathematical sublime is situated in the failure of the imagination to comprehend natural objects which appear boundless and formless, or which appear "absolutely great" (§ 23–25). This imaginative failure is then recuperated through the pleasure taken in reason's assertion of the concept of infinity. In this move the faculty of reason proves itself superior to our fallible sensible self (§§ 25–26). In the dynamical sublime there is the sense of annihilation of the sensible self as the imagination tries to comprehend a vast might. This power of nature threatens us but through the resistance of reason to such sensible annihilation, the subject feels a pleasure and a sense of the human moral vocation. This appreciation of moral feeling through exposure to the sublime helps to develop moral character.
Kant had developed the distinction between an object of art as a material value subject to the conventions of society and the transcendental condition of the judgment of taste as a "refined" value in the propositions of his Idea of A Universal History (1784). In the Fourth and Fifth Theses of that work he identified all art as the "fruits of unsociableness" due to men's "antagonism in society", and in the Seventh Thesis asserted that while such material property is indicative of a civilized state, only the ideal of morality and the universalization of refined value through the improvement of the mind of man "belongs to culture".
- The Philosophical Discourse of Modernity
- Nietzsche's s critique of Kant in The Genealogy of Morals