Browsing: Immanuel Kant

The conditions of knowledge shift from the constituting subject to historical discourse and episteme, and finally toward data, models, algorithms, and synthetic production in the age of artificial intelligence.

Friedrich Schiller’s aesthetic theory connects the sense drive, form drive, and play drive with human wholeness, aesthetic education, ethical development, and the possibility of freedom.

Gadamer critiques modern aesthetic consciousness by tracing its development through Kant, genius, Erlebnis, symbol, allegory, and aesthetic differentiation, returning art to a distinctive experience of truth.

Panofsky’s early theory examines how art history can produce valid knowledge through conceptual categories, historical context, internal structure, and disciplined interpretation.

Ernst Cassirer represents the transition from Marburg Neo-Kantian epistemology toward a philosophy of symbolic forms encompassing language, myth, culture, and art.

Panofsky’s concept of Sinn defines the work of art as a historically situated yet internally organized unity in which form, content, and meaning become inseparable.

A philosophical study of Kant’s transcendental conditions of possible experience and Bergson’s shift, developed through Deleuze, toward duration, intuition, singularity, and the conditions of real experience.

Baumgarten and Kant define two decisive thresholds of aesthetics through sensuous cognition, perfection, judgement, free play, common sense, genius, aesthetic ideas, and the sublime.

Friedrich Schiller connects the sensuous drive, form drive, play drive, aesthetic education, freedom, culture, and political formation within a unified theory of human development.

Kant’s aesthetics connects judgement, disinterested pleasure, subjective universality, purposiveness without purpose, free play, Schein, the sublime, genius, and aesthetic ideas.