On the Original Content of Kant’s Categories: Metametaphysics, the Analysis of the Understanding in the Synthesis of Experience, and the Discovery of the Metaphysical Concepts of an Object in General

In the Critique of Pure Reason, Kant develops a metametaphysical view concerning the domain and source of a distinctively metaphysical cognition of objects of experience, which is given in terms of an analysis of our representational capacity for thought, namely, the understanding, regarding its sub-capacities and their constitutive abilities and acts. In the Analytic of Concepts, more precisely, in the Metaphysical and Subjective Deductions of the Categories, Kant develops an elaborate account of the content and formation of those metaphysical concepts of an object in general through which there is genuine philosophical cognition of objects of experience, namely, the categories. Relating the Analytic of Concepts to the Doctrine of Method, I give a detailed reconstruction of this account in contrast to both empirical and mathematical concepts. I do so by establishing, for the first time (in English) that and how the representational contents of the categories, as general representations of objects, derive from fundamental abilities and acts of a synthesis of an empirical intuition that the understanding contributes to experiences of objects, which thus yield the original contents of the categories. In particular, I argue that the threefold synthesis of the fundamental act-types of the apprehension, reproduction, and recognition of a manifold of sense-impressions, presented in the A-Deduction, holds the key to understanding the origin of the categories, or concepts of an object in general, investigated in their Metaphysical Deduction. It turns out that the threefold synthesis, as it is exercised regarding a manifold of sense-impressions in an empirical intuition of an object, can indeed account for the representational contents of the categories of Quality (apprehension), Quantity (reproduction), Relation (recognition), and Modality (relating to the object through a manifold of sense-impressions). In this sense, the categories are “concepts of synthesis” (A80/B106) or “concepts of the synthesis of possible sensations” (A723/B751).