If free harmony of the faculties is the aim of the power of judgment and the ground of the pleasure of taste, the free activity of the imagination is obviously crucial. The only place where Kant investigates the productively free operation of the imagination are the sections on art in the Critique, that is, the sections in which he is concerned not so much with taste as with the productive activity in the artistic genius. Kant characterizes this ultimately inscrutable activity as the production of ‘aesthetic ideas’ by the imagination. The often-noted disconnect between Kant’s account of taste at the beginning of Critique of Aesthetic Judgment and his subsequent theory of art can be resolved; in fact, the theory of artistic productivity is an indispensable complement to the analysis of taste.

The manner of expression of human malaise has changed and evolved a lot over time. With regard to the specific relationship with the body, we can also observe that it has evolved over time in response to some contradictory hypermodern drives. It is therefore appropriate to investigate how people sometimes feel drawn into a social climate that is full of confusing and contradictory messages and dynamics that are often difficult to elaborate, and what the effects of this context are. Human symbolization and mentalization processes therefore seem rooted in the body and relationships, which in turn are rooted in a specific social context that is changing, adding further complexity and transforming the concept of the human body in turn.