IMMANUEL KANT'S "WHAT IS ENLIGHTENMENT?"

Kant based on the logical reason to go out of the obscurantism and finally find the light (real truth). Kant named this era "Enlightenment". He said more older the man would be that man must be more illustrated, because the exprerience make that. 


Enlightenment is man's emergence from his self-imposed immaturity. Immaturity is the inability to use one's understanding without guidance from another. This immaturity is self-imposed when its cause lies not in lack of understanding, but in lack of resolve and courage to use it without guidance from another. Sapere Aude! [dare to know] "Have courage to use your own understanding!"--that is the motto of enlightenment.

THE POWER OF MUSIC

Beginning with a new term of philosophie, the last activity that we did in class was so wonderful. We had to say how can we express our feeling with some different classical music... was so fantastic! I never make this kind of pedagogical work. Some tracks expressed bad and sad feelings such as "God is happiness" XD XD XD XD, sense of lost or break-ups. But other tracks represented to me magic senses such as "catching butterflies" or extremely happiness... maybe, in the fifth track, I felt like a strange, dark but beautiful love... like passion and lust with a vampire (a real vampire, not a Twilight's vampires, they are gay XD). So, in few words... MUSIC IS A BANG!!

THE MIRROW IN THE MIRROW'S STORIES

The first story, for me, is about a soul's life. The soul is called Hor. He thinks he doesn't have a function in this world because I suppose he is enclosed in ingorance. He is so confused, scared and he believes that maybe he would be two, three or more souls. He questioned himself that anybody could hear or feel him. 

The second story is about a man who created wonderful wings to himself. He created that wings to liberate himself of the Laberinto City. He started to fly and he think he would complete the mision to reach freedom and see his girlfriend. He was flying in the sky but some strange and bad people said to him that if they could fly with him... he accepted. Finally, nobody said to him that the mision is completed, he realized that his girlfriend had gone and his father was so sad about him. His MOST IMPORTANT MISION was not to obey the society, was to be self-confident about himself.

The third story is about a student. He was studying so hard for a exam when thought about his bedroom's rent. He knew that the owner of the neighbourhood had died and he was so worried about the rent's cost. The student went to the living room and saw old furnitures and broken house's accesories. He said to himself why these things are so damaged, how much time he was in his bedroom. Then, he saw a old man that was making the cleanliness. In a discussion the old man said to the student that the beginning of things or the beginning of any activity is so ridiculous. Then, the old man said to him that the nature doesn't care human time. The student was worried about the rent so he wanted to go to the other living room... there were the property's heirs. They were in silence but they were discussing about the new cost of the rent. Then, the old man said to the student that the heirs used him to spy heirs' behavior and he started to feel sadness. The student understood the situation and helped him with the cleanliness.  Finally, the student didn't care about the rent and resolve an equation about his studies. It means that people must to believe in themselves and must not go by other people.

The last story is about a firefighter. He arrives to a strange world that is divided by some "air-islands". He heard a kind of talking saying that the whole world had to catch the train. Everybody had a lot of money but their dresses were terrible and their personal presentations were so bad. Near to him, there was a slim woman with a bag. She let him to help her with the bag... an organ started to sing. -Coming up, coming up, I'm the next to get the ticket- she said. -No, I'm not going with you, I'm going to a party- he asked her. - Everybody say that, and, in the end, they lose- she asked him. The firefighter went running with the woman to the station. He realized that the bag made like a tic-tac sound but the woman said to him that was just a clock. They arrived to the station. He see all the place and he realized that all station was made by money. She said to him that she had to be on the station's tribune... he accepted and cared her bag. She started to sing and he was so wondered. Then, other man said to him that if he wanted to be a shareholder... he dissaged. He realized that the bag was stolen and he got so angry with himself. Then, two teenagers asked to him if he was a shareholder and he said no, he's not. They catched him and the three went to the organ... there were a big man with the singer. She said to him the bag was a BOMB!. The firefighter run to the station and listened to somebody... somebody said that the money is the salvation. He run over the tribune and said that the money wasn't the salvation. All the public wanted to killed him. They hit him and he survived. Then, he saw the bag and he broke the bag... there was nothing. He went away from the station and picked up the woman's dress...    -Maybe, she fanally catched the train- he thought. Finally, with a hard sound the firefighter listened the "three..., two..., one...".

KANT'S THEORY OF JUDGMENT

INTRODUCTION
Theories of judgment bring together fundamental issues in semantics, logic, philosophical psychology, epistemology, and action theory: indeed, the notion of judgment is central to any theory of human rationality. But Kant's theory of judgment differs sharply from many other theories of judgment, both traditional and contemporary, in three ways: (1) by taking the capacity for judgment to be the central cognitive faculty of the human mind, (2) by insisting on the semantic, logical, psychological, epistemic, and practical priority of the propositional content of a judgment, and (3) by systematically embedding judgment within the metaphysics of transcendental idealism . Several serious problems are generated by the interplay of the first two factors with the third. This in turn suggests that the other two parts of Kant's theory of judgment can be logically detached from his transcendental idealism and defended independently of it.


VARIETIES OF JUDGEMENT
In the Prolegomena to any Future Metaphysic (1783) Kant presented the central themes of the firstCritique in a somewhat different manner, starting from instances in which we do appear to have achieved knowledge and asking under what conditions each case becomes possible. So he began by carefully drawing a pair of crucial distinctions among the judgments we do actually make.


The first distinction separates a priori from a posteriori judgments by reference to the origin of our knowledge of them. A priori judgments are based upon reason alone, independently of all sensory experience, and therefore apply with strict universality. A posteriori judgments, on the other hand, must be grounded upon experience and are consequently limited and uncertain in their application to specific cases. Thus, this distinction also marks the difference traditionally noted in logic between necessary and contingent truths.


But Kant also made a less familiar distinction between analytic and synthetic judgments, according to the information conveyed as their content. Analytic judgments are those whose predicates are wholly contained in their subjects; since they add nothing to our concept of the subject, such judgments are purely explicative and can be deduced from the principle of non-contradiction. Synthetic judgments, on the other hand, are those whose predicates are wholly distinct from their subjects, to which they must be shown to relate because of some real connection external to the concepts themselves. Hence, synthetic judgments are genuinely informative but require justification by reference to some outside principle.


Kant supposed that previous philosophers had failed to differentiate properly between these two distinctions. Both Leibniz and Hume had made just one distinction, between matters of fact based on sensory experience and the uninformative truths of pure reason. In fact, Kant held, the two distinctions are not entirely coextensive; we need at least to consider all four of their logically possible combinations:

• Analytic a posteriori judgments cannot arise, since there is never any need to appeal to experience in support of a purely explicative assertion.
• Synthetic a posteriori judgments are the relatively uncontroversial matters of fact we come to know by means of our sensory experience (though Wolff had tried to derive even these from the principle of contradiction).
• Analytic a priori judgments, everyone agrees, include all merely logical truths and straightforward matters of definition; they are necessarily true.
• Synthetic a priori judgments are the crucial case, since only they could provide new information that is necessarily true. But neither Leibniz nor Hume considered the possibility of any such case.

Synthetic a priori proposition
In logic, a proposition the predicate of which is not logically or analytically contained in the subject—i.e., synthetic—and the truth of which is verifiable independently of experience—i.e., a priori. Thus the proposition “Some bodies are heavy” is synthetic because the idea of heaviness is not necessarily contained in that of bodies. On the other hand, the proposition “All husbands are male” is analytic because the idea of maleness is already contained in that of husband. In general the truth or falsity of synthetic statements is proved only by whether or not they conform to the way the world is and not by virtue of the meaning of the words they contain. Synthetic a priori knowledge is central to the thought of Immanuel Kant, who argued that some such a priori concepts are presupposed by the very possibility of experience.