Act only according to that maxim whereby you can, at the same time, will that it should become a universal law.
The single quote most often associated with the major works of Kant—indeed, with Kant’s writings as a whole—this. Wrapped up within this seemingly simple bit of common sense is one of the most referenced philosophical concepts of all time. It is known as Kant’s Categorical Imperative. The message contained within has been inspiration for countless dramatic conflicts at the heart of countless works of literature and film. The Categorical Imperative is a foundation of ethical behavior which seeks to remove all tangential justifications for individual morality of an act and judge the moral worthiness based entirely and solely on the act itself. It does this by introducing to the argument the idea that u would do exactly the same thing in any situation regardless of the circumstances.
If it is now asked whether we at present live in an enlightened age, the answer is: No, but we do live in an age of enlightenment.
This is not merely wordplay, but a serious attempt as philosophizing. Kant is one of the most serious of philosophers, after all, and usually one of the most abstruse. To some this may appear to be confusing, but in reality it is one of the more direct statements Kant ever made. He is chastising those who believe that the road to knowledge and enlightenment is a path doomed to end in failure and disappointment. Just because the destination of enlightenment as a description of wondrous time that describes the populace of the world as a whole—or even a huge majority—is illusory and impossible is no reason not to be steadfast about seeking it.
The concept here is really that “the Dark Ages” actually should be viewed within the plural; society is constantly shifting back and forth between progress and regressive attempts to question the acquisition of new knowledge. Kant’s assertion to always find ways to manage the darkness in any given age while moving forward to next age of enlightenment is especially relevant in the America of climate change denial, anti-vaccine movements and serial conspiracy theories directed toward academia.
We thus see that genius is a talent for producing that for which no definite rule can be given; it is not a mere aptitude for what can be learnt by a rule.
Kant’s most famous major work is almost certain Critique of Pure Reason. Arguably, Critique of Judgment sits just behind, though that assertion is certainly up for debate. Nevertheless, the Critique of Judgment does contain an extensive section on the philosophical of art. Aesthetic philosophy often gets the shortest of shrifts alongside such major concerns as the meaning of life and the determining the ethical and moral standing of any act. Perhaps now more than ever, however, philosophical application to art and artistry has taken center stage so Kant in this respect should be a true pioneer who indulged where other major names failed to oblige. His definition of genius here is definitely worth a reconsideration of application when that word gets toss around with such a cavalier understanding as to be used in reference to the works of Kanye West or Andy Warhol.
