A Crude and Inadequate Outline of Kant’s Critique of Pure Reason
The following is a brief outline of Kant’s first Critique for those who are not particularly familiar with it. Feel free to skip this post if you’re already familiar with the role that the dialectic plays in his project. The next post will deal with what I call the “onticological dialectic” which examines exo-relations among objects or inter-object relations and proposes “categories” for formally representing these relations.
In the Critique of Pure Reason Kant divides the Critique into two main parts: The Transcendental Doctrine of Elements and the Transcendental Dialectic. The Transcendental Doctrine of Elements is divided into the Transcendental Aesthetic and the Transcendental Analytic. The Transcendental Aesthetic is concerned not with art, but with the a priori conditions of receptivity or sensibility. Thus, where the empiricists had restricted themselves to a posteriori sensations or impressions (colors, tastes, sounds, etc), Kant shows that there are certain features of our knowledge that can only be rendered coherent if we presuppose a transcendental form of sensibility or an a priori form of intuition. In short, unlike my experience of the color red which I can only come to know a posteriori through experiencing it (I cannot come to know it, for example, by reading about red), transcendental sensibility would not be an intuition or sensation that we receive from the world but would be, as Kant’s famous thesis runs, something that our mind imposes on the world giving the sensible the structure that it possesses. These transcendental forms of intuition– in contrast to what Kant refers to as the “matter of intuition” or “content of intuition”, i.e., sensations –are, of course, time and space. If Kant is led to claim that time and space must be imposed on the world by mind rather than learned through experience, then this is because he can see no other way in which it is possible to account for the universality of arithmetic (based on, according to Kant, time) and geometry (based on space). In other words, a discrete sensation gives me no reason to suppose that it must always be connected in a particular way (the red of an apple connected to the taste of its sweetness). Yet mathematics is different. In the case of mathematics we begin from the premise that 2 + 2 will always equal four, and that the square of the hypotenuse of a right triangle will always equal the sum of the square of its other two sides. In what way is this universality grounded? Certainly not in sensation. Kant’s ingenious thesis is thus that the mind imposes time and space on the world. In this way he can show that temporal and spatial relationships must always be organized in the same way.
In contrast to transcendental intuition or sensibility, the transcendental analytic deals with concepts. Years before, in his New Essays on the Human Understanding and elsewhere, Leibniz had already shown that there is a difference in kind between intuitions (or sense-experience) and concepts. Suppose, asks Leibniz, you see a pile of one million and fifty three toothpicks laying on the floor. Your perception of the toothpicks, claims Leibniz, is vague and confused. You do not see one million and fifty three toothpicks, but rather see many, a lot, or a jumble. My perception of the toothpicks is vague and indeterminate. By contrast, my concept of one million and fifty three toothpicks is absolutely precise. I know exactly how many it is without any remaining obscurity.
This is one of those brief yet brilliant moments in the history of philosophy. Leibniz uses this simple argument to refute Locke’s thesis that all knowledge arises from sensation. What he claims to show is that there is a difference in kind between sensible representations and conceptual representations, such that the one cannot be derived from the other. Kant, a former Leibnizian, takes something like this distinction over in the Critique of Pure Reason. Where the domain of intuition is the domain of receptivity, the domain of concepts is that of spontaneity, i.e., we can manipulate them at will and are not restricted to receiving a sensation to use them. Moreover, where intuitions are a matter that we receive, concepts are a pure form without a content. Just as Kant had distinguished between empirical sensation and transcendental intuition (the forms of time and space), in the transcendental analytic Kant distinguishes between empirical concepts and transcendental concepts. Transcendental concepts are a priori, originate in and from the mind, and are pre-requisites for any judgment whatsoever about the world. Kant cites twelve a priori concepts in all.
The purpose of the transcendental doctrine of elements is to determine those a priori structures of cognition necessary for the possibility of synthetic a priori judgments and experience. The remainder of the first half of the Critique deals with how these concepts, the pure forms of intuition, and the matter of sensibility are synthesized together to form the judgments upon which natural science and mathematics are based.
Matters shift with the transcendental dialectic. The transcendental dialectic serves both a negative or critical function, and a positive function. Kant’s famous thesis is that in order for experience to be possible there must be a synthesis of concepts and intuitions. Where reason uses the concepts of the understanding independent of intuition, it falls into a very specific sort of illusion that he refers to as “transcendental illusions”. One of the aims of the transcendental dialectic, then, is to diagnose these illusions and show how they can be resolved. Kant’s magnificent achievement was to show how the major debates of the history philosophy arose from this tendency of reason to use the categories or concepts of the understanding independent of intuition.
However, the dialectic is not simply negative or therapeutic in its ambition. On the one hand, why is it, Kant wonders, that reason is compelled to fall into these illusions of reason (he refers to them as inevitable or unavoidable)? Might reason have a higher vocation beyond simply leading us into illusion? On the other hand, so long as we remain at the level of understanding and intuition, we only get piecemeal knowledge. I make the judgment that heat causes fire to boil, that if I bisect a rectangle I get two right triangles, and so on. Like The Guinness Book of World Records, judgment at the level of understanding yields only trivia. Here we get one of the vocations of reason. Where understanding makes particular judgments, reason unifies judgments into a system or a totality. Kant argues that there are three Ideas of Reason: Ideas pertaining to the soul or the paralogisms, Ideas pertaining to the world as a totality or whole, and Ideas pertaining to God.
These Ideas– in distinction to concepts or categories –are, Kant tells us, problems. They are problems that pertain to a drive for unity and systematicity. Were I to remain at the level of understanding with respect to my self, my identity would remain fragmented and piecemeal. The paralogisms pertaining to the substantiality of the soul are thus an issue of forming one’s life as a unity, a totality, a whole where one’s experiences are integrated. Were I to remain at the level of discrete experiences at the level of my relationship to the world, I would not be driven to form knowledge into a coherent system or totality… A theory where all things are allotted a place. And finally, in my Idea of God I am driven to both discover the origins of the universe, to perpetually search for new and deeper causes, and the purpose or the interrelationship among things in the universe. For example, while nature is not itself teleological, I must nonetheless think teleologically to understand the interrelationship among parts in an organism and the relationship among organisms within an ecosystem.
For Kant there is thus a virtuous dimension to reason. Reason presents understanding with irresolvable problems that lead it to search for unity, causes, systematicity, and so on. Kant refers to this dimension of reason as the unrest of reason. Reason is a torment, an unrest, shared by the artist and the scientist alike. It is the unrest that torments the artist with the question of what unifies their art or what threads tie together the diverse novels she has written or which paintings she has painted. As a result of this unrest, she is perpetually driven on to create the next artwork, the one that would be the final artwork, or the work that would make clear, once and for all, what it was she was trying to do all this time. This, of course, is always doomed to failure. Likewise, reason is the unrest of the scientist striving to unify all the data that she’s collected, trying to organize it into a theory or a system and trying to make sense of the inconsistencies within that body of research. Like the artist, the scientist dreams of the final theory, the GUT, the ToE, that would complete the set and unify all the elements. Like the artist this pursuit is doomed to failure, but this unrest propels her research ever onwards, leading to new theorizations, new models, the search for causes to unexplained elements, and the search for new data. For Kant, reason is virtuous when it maintains this unrest and vice when it concludes it.
The key point to take away from Kant’s transcendental dialectic, beyond the unrest of reason, is that whereas understanding is about discrete judgments (“heat causes water to boil”), reason is about relationships among things. It is the drive to relate. Understanding separates. Reason relates. At the level of the paralogisms, it seeks the red thread that unites the experiences of a life or a Person. It is the auto-synthesis of the subject in the subject’s self-relation to himself. At the level of the antinomies, it is the search for ever deeper and more fundamental causes and the drive towards the systematization of nature in a total theory.