Inventing reception -: Genius and judgement in Kant's 'Critique of Judgement'

For centuries theorists tried to mend the Platonic schism between poetry and philosophy. According to modern commentators, Kant met Plato's challenge by proclaiming the coincidence of beauty and moral law in the aesthetic object. It is true that in his Kritik der Urteilskraft Kant reconciled genius and judgement through the aesthetic idea, which causes analogous processes of mind in the producer and the viewer, but the crux of the conflict between the originality of genius and genius's accomodation to judgement lies in Kant's vital disclaimer, "there may also be original nonsense". Original nonsense implies the existence of "original sense", i. e. what the genius is supposed to create. Because the work must be exemplary, yet not conceptualizable, this implies an ever-moving and self-destructing avant-garde. The judges of exemplarity are neither critics nor philosophers but new artists who see the genius' work as examples not to be "imitated" but to be "followed". Through Kant's self-propagating genius art evaluates itself Judges who attempt to "clip (genius') wings" are destined, because they lack genius, to misapprehend the substance of art. Kant subverts Plato's hierarchy by positing an artist who call judge himself and approach reason through art. Meanwhile his thoroughly Romantic but also presciently modern plan makes the philosopher write himself out of his own narrative which may, however, inspire a reader to validate Kant's philosophical text as original and exemplary.