This chapter explores Wittgenstein’s two references to the arts in 4.014. The first is his musical example of the unity of language and the world; the second his allusion to the fairytale The Gold-Children by Brothers Grimm. The chapter argues, first, that Wittgenstein’s early notion of logic incorporates forms that for Kant belong to transcendental aesthetic, namely, space and time. Second, it spells out how this commitment motivates Wittgenstein’s musical example and why it is crucial to draw a distinction between transcendental form and empirical structures made possible by that form. Finally, the chapter argues, pace Peter Sullivan, that the unity of language and the world is guaranteed by the metaphysical subject as their common origin. If the fairytale is read as a condensed illustration of Wittgenstein’s position, then this common origin is signified by a golden fish.

What do we mean when we say that something is real? What ought we to mean? I offer the following definition, in the interest of making an operational notion of reality: an entity is real to the extent that there are operationally coherent activities that can be performed by relying significantly on its existence and its properties. Reality (in the sense of real-ness) conceived in this way is a matter of degrees, and it is domain-dependent. Real entities (or, realities) are mind-framed, and crafting better realities is an achievement of conceptual engineering. When we take ontology in the context of practices, ontological pluralism no longer appears absurd: there are different sets of realities operative in different systems of practice. I illustrate these points with a range of examples drawn from the history of the physical sciences. The traditional picture of physical objects constituted as mereological sums of immutable building-blocks is unwarranted and creates undue hindrance to practice-based ontology.

This chapter reviews how the early post-Kantians perceived the need of reforming Kant’s Critique in order to complete the philosophical revolution it had initiated. In 1785, Jacobi had brought Spinoza to the discussion, claiming that his monism undermined human freedom and personality. He further claimed that this monism was the logical conclusion of all philosophy. The post-Kantians’ task was thus threefold: (1) to demonstrate that personalism is consistent which monism, which they in principle accepted as the necessary standpoint of reason; (2) to show that Kant’s idealism could be the basis for the desired personalism; and (3) to overcome what they took to be the formalism of Kant’s system that stood in the way of it. All this came down to ridding the system of its presumed unknown “thing-in-itself” while finding a principle that would unify it internally, not just by means of external reflection. Fichte had attempted this with his “I.” Even more important, however, was his analysis of feeling, which he considered the concrete counterpart of the “I” and which, as in the feeling of guilt, brought reason and nature together. This was the synthesis that the post-Kantian idealists explored in their different ways.

This paper is part of a larger project about the relation in Kant’s work between mathematics and transcendental philosophy. The general view is that in the course of arguing independently of mathematical considerations for conditions of experience, Kant also establishes conditions of the possibility of mathematics. My aim in this paper is to show how, for Kant, arithmetic and number are grounded in necessary conditions of experience, and thereby to show how arithmetic provides a priori cognition of objects with regard to their form.

This paper addresses the generality problem arising for the use of spatial figures in geometry by emphasizing Kant’s notion of the schema of a geometrical concept (in contrast to an individual figure falling under that concept). It then relates this notion of schema to space as a form of intuition by connecting geometrical constructions (examples of Kantian schemata) with the possible perspectives of the perceiving subject within space as the form of outer intuition. And it uses this relationship between geometrical schemata and what I thus call "perceptual space" (the form of outer intuition) to develop a new interpretation of the relationship between the understanding and sensibility in section 26 of the Transcendental Deduction. The result is a reading of Kant on space and geometry that shows how geometrical, perceptual, and physical space are necessarily related to one another.