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This article attempts to read the Transcendental Dialectic through Meillassoux’s model of the absolute contingency of being in order to rethink some of its central difficulties. Specifically, this concerns better understanding the role played by the categories of relation and modality in the empirical use of the ideas of reason, which underlies their regulative use that is directed at an absolute unity of reason. It will be discussed which questions are implied in the central claim of Meillassoux’s ontology, i.e., that it is possible to derive from the necessity of contingency the existence and noncontradictory being of the thing in itself. First, I will retrace basic points of Meillassoux’s critique of “correlationism”, by means of which he reconfigures the divisions between metaphysics, physics, and ontology. Second, against the background of the Kantian concept of hope, I will examine a relation between the Transcendental Dialectic and ethics, as, respectively, conceived of in Kant and in Meillassoux’s reinterpretation. Third, I will critically ask in how far absolute contingency can be understood as grounding a concept of experience and in which sense the idea of the antinomy chapter in the Transcendental Dialectic contains an argument more complex than Meillassoux’s model suggests.
Stanley Cavell is one of very few philosophers who systematically reflect on the impact and influence of autobiographical detail, experience, and preferences on their philosophical work. The aim of this essay is to show how Cavell’s use of autobiographical exploration is rooted in his early aesthetic theory, in particular his view of the similarities between philosophy and aesthetic criticism. Cavell argues that criticism starts by exploiting and incorporating a subjective vantage point, eventually bringing the reader to test the significance of a work on herself. In his ‘Aesthetic Problems of Modern Philosophy’, Cavell states exactly this form of appeal to the ‘We’ of author and reader as the basic move of his own version of ‘ordinary language philosophy’. It is because of the connections Cavell sees between criticism and philosophy that his aesthetic diagnosis harks back on his overall critical style of thinking.