Here is a transcript of my hastily composed remarks at yesterday evening's Paskus Mellon Forum in Jonathan Edwards College:
I am going to talk about Kant’s Critique of Judgment, which develops a philosophy of beauty and art (among other things). Since my senior essay is about stuff at the end of the book, I’m not going to talk about my senior essay, and instead I’m going to focus on the beginning of the Critique, which my paper relies upon. Unfortunately, I do not have my copy of the Critique in English with me – I left it at home – and all I have is the copy of the Critique in the original German, which would be really useful... if I knew German. So if I say something wrong, it’s almost certainly me screwing up, not Kant, who almost never screws up (except when he discusses women or Jews).
I would like to think about the same problem that Kant thinks about in the beginning of the Critique: What is beauty? (Philosophers apparently love questions of the form “What is x?” “What is x?” was probably once the title of someone’s dissertation.) So what is beauty? It is uncontroversial to say that when we experience beauty, we experience some kind of pleasure. To call something beautiful is to assert that it gives us this kind of pleasure. Obviously, this is not yet a sufficient definition of beauty, because video games and bagels also give us pleasure but we might not want to be forced to call them beautiful. So now let us pose the question: how does the pleasure we get from beauty differ from other kinds of pleasure?
As a start, it is helpful to notice that some kinds of pleasure are at least partly determined by particular sensory experiences, while other kinds of pleasure seem to have nothing to do necessarily with particular sensory experiences. I suppose that if I won the lottery, I would experience some pleasure. Say I never saw the money itself, because it was just put into my safe deposit box by my housekeeper. And say that I never even get to use the money myself, because I bequeath it to my children. Even though I never see (or smell) that money, I still get pleasure just by thinking privately about how great it was to win. Whatever is giving me pleasure, it is not determined by the particular sensory experience I have, since I never get any sensory experience of the money which is the source of my pleasure. Apparently, it is enough for me to think (even if I am wrong) that the money exists, that it is there in my bank account for my use. And apparently, the thought that the money exists is a necessary condition for this non-sensory type of pleasure, since my pleasure would cease and I would get very pissed off if I found out the money I won in the lottery was really just a hologram of money. In general, if I have pleasure in something and that pleasure has no necessary relation to a particular sensory experience, that is, if I have pleasure just at the thought of that something, then I care whether that something really exists – because it is that something, not something else, the thought of which affords me the pleasure. So let’s agree that in cases where I get pleasure independently of particular sensory experiences, it matters to me whether the objects of my pleasure actually exists. Another way to say this is that I am interested in the existence of a certain object (as opposed to disinterested).
Now let’s think about cases where there is a necessary relation between pleasure and a particular sensory experience. Obviously, experience of the beautiful falls somewhere in this category. But the question is: is it the case than all instances of pleasure that have a necessary relation to a particular sensory experience are instances of the experience beauty? Or are there some kinds of necessarily sensory pleasure we experience that are not instances of beauty? Kant claims yes to option number two, and he claims that the distinction between pleasure in the beautiful and pleasure in other types of sensory experience turns on the same distinction between interested and disinterested pleasure that we just saw. Here’s how this works. If sensory experience of an object causes pleasure in us, sometimes it is because of a pathologically determined response. If you have ever enjoyed a massage or a meal on an empty stomach, then you know what I am talking about. In these cases, we wish that our nervous system be stimulated in a certain manner such as to produce pleasure. It is as if a certain pleasure switch gets flipped on when we experience this kind of stimulation. So in this kind of case, the pleasure cannot happen without the interaction of our body and the switch-flipper. That is to say, this kind of pleasure depends upon the existence of the switch-flipper – without a real hand performing a massage, without a bowl of real food, there is no pleasure. So under the category of pleasure that has a necessary relation to a particular sensory experience, there is one sub-category of pleasure where we are interested in the existence of the object of pleasure.
According to Kant, pleasure in the beautiful is a different sub-category of pleasure. As a matter of fact, he claims, when we experience something in the beautiful, we have no care whether it actually exists or not – the pleasure we experience is disinterested in its existence. If I take LSD and see a beautiful landscape, and then later on I recover and discover that I was merely hallucinating, my discovery that the landscape did not really exist makes no difference to me with regard to the pleasure I took in the landscape’s beauty. Similarly, when I look at an image on a wall and enjoy it because it looks beautiful, it makes no difference to me what kind of object is producing that image, whether it is a painting or a hologram. My satisfaction in the beauty of the object has nothing to do with what kind of object I think it is, or even whether the object exists at all (as my LSD example shows). That is to say that the enjoyment of beauty is a purely disinterested satisfaction (i.e. disinterested in the existence of the object of pleasure).
Let me stop explaining Kant’s argument, which I have only begun to address, and point out some interesting consequences of this line of reasoning. You might wonder: why is Kant entitled to claim that judgments of beauty are not pathologically determined? Perhaps science will eventually discover that there are certain characteristics of certain types of visual experiences, for example having the Phi proportion, that makes us judge them as beautiful. The response to this would take a long time to flesh out, but let me just say this one word: if you come up with a set of characteristics that an object must have to be beautiful, then I will be able to produce an object that satisfies all those characteristics and is nevertheless not beautiful. In other words, Kant claims that it is impossible to come up with a set of rules that an object or an appearance must follow in order to be beautiful. For Kant, rules can guide the construction of machines, but they necessarily cannot guide the production of beautiful art.
Any questions?