Aesthetic Experience

This is a 1000 word summary of my theory of aesthetic value. I claim that value should be understood as an activity rather than a property, that aesthetic values are objectified final values, that they are distal versions of practical values, and that each one involves balancing a tension. This is for an upcoming symposium at the JAAC in which 11 philosophers outline their positions on aesthetic value.

When we cook, by meticulously following a recipe, or adding a personal twist to it, we sometimes care not only to (re-)produce a taste that we can enjoy, but also to give our food a certain aftertaste. This is not surprising, given that we ordinarily take aftertaste to be an important part of the gustatory experience as a whole, one which we seek out, and through which we evaluate what we eat and drink—at least in many cases. What is surprising (...) is that aftertastes, from a psychological point of view, seem to be analogous to afterimages, and thus have little or no epistemic import. In this paper we tackle this puzzle, and argue that we are right in treating aftertastes seriously. The moral is that both from a metaphysical and an epistemic point of view aftertastes should be categorized differently from afterimages. (shrink)

It is a noteworthy disanalogy between contemporary ethics and aesthetics that the fitting-attitude account of value, so prominent in contemporary ethics, sees comparatively little play in aesthetics. The aim of this paper is to articulate what a systematic fitting-attitude-style framework for understanding aesthetic value might look like. In the bulk of the paper, I sketch possible fitting-attitude-style accounts of three central aesthetic values – the beautiful, the sublime, and the powerful – so that the general form of the framework come (...) through. (shrink)

In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...) there are passages in Cavendish’s work that might seem to count against my reading—specifically, passages on disagreement in aesthetic judgement, on the power of beauty to elicit the passions, and on our inability to specify the nature of beauty—I show that, when situated against the background of Cavendish’s broader metaphysical and epistemological views, those passages in fact support the realist interpretation. (shrink)

I argue that the main existing accounts of the relationship between the beauty of environmental entities and their moral standing are mistaken in important ways. Beauty does not, as has been suggested by optimists, confer intrinsic moral standing. Nor is it the case, as has been suggested by pessimists, that beauty at best provides an anthropocentric source of moral standing that is commensurate with other sources of pleasure. I present arguments and evidence that show that the appreciation of beauty tends (...) to cause a transformational state of mind that is more valuable than mere pleasure, but that leads us to falsely represent beautiful entities as being sentient and, in turn, as having intrinsic moral standing. To this extent, beauty is not, then, a source of intrinsic moral standing; it’s a source of a more important anthropocentric value than has hitherto been acknowledged. (shrink)

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues (...) are partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

Culinary products have culinary value. That is, they have value qua culinary products. However, what is the nature of culinary value and what elements determine it? In the light of the central and universal role that culinary products play in our lives, offering a philosophical analysis of culinary value is a matter of interest. This paper attempts to do just this. It develops three different possible models of culinary value, two rather restricted ones and a third more encompassing one, rejects (...) the first two, and defends the third one. (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...) when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)

According to the scientific image, aesthetic experience is constituted by private reverie or mindless gratification of some kind. This image fails to fully acknowledge the theoretical and hence cultural aspect of perception, which includes aesthetic experience. This chapter reframes aesthetic reflective judgment in terms of perceptual processes (section 2); intentional pleasure (section 3); non-perceptually represented perceptual properties (section 4); and intersubjectivity (section 5). By clarifying the relevant terms, the liberal naturalist account of the sublime provides the link between the sublime (...) and moral motivation (section 6). (shrink)

While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s aesthetic properties? The (...) second strand of the puzzle arises when we widen the scope of aesthetic experience. The very same aesthetic properties that seem to require training for their perception in artworks do not appear to require training to perceive in objects of everyday aesthetic appreciation and natural phenomena. In this paper I argue that a prominent extant attempt to explain how training is compatible with aesthetic perception—cognitive permeation—is an inadequate solution. I also develop a positive view of aesthetic perception that provides a unified solution to both strands of the puzzle. (shrink)

Nguyen offers a number of profound insights about the nature and value of games. Games are works of art, according to Nguyen, because they offer players aesthetic experiences. Game designers aim to...

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal versions of practical (...) values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

Karl Pfeifer argues against the view that an aesthetic experience must be a uniquely special kind of experience by means of an analogy with sexual experiences. Nonetheless, he leaves open the possibility that some aesthetic experiences might still be of a special kind.

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

We all have different “tastes” for different tastes: some of us have a sweet tooth, while others prefer more subtle flavors; some crave spicy foods, while others cannot stand them. As Bourdieu and others have pointed out, these varying judgments seem to be more than mere preferences; often they reflect (and partially constitute) differences of class and culture. But I want to suggest that we’ve possibly overlooked another important source of these divergent gastronomic evaluations, other than hierarchy and caste: mere (...) interpersonal variability with respect to brute gustatory sensations. After all, we all know about “supertasters and cilantro-haters”; how likely is it, though, that the interpersonal heterogeneity of gustatory sensation is limited to this one dimension? In this paper, I make the case that we should take this possibility more seriously, and offer some thoughts on how we might start getting a better handle on the nature and scope of interpersonal gustatory variability—including by suggesting some diagnostics that can help us get at (what I call) some of the “non-flavor dimensions” of our gustatory experience. I conclude by developing some implications for the prospects of an “alimentary aesthetics”: namely, that—should our gustatory experiences turn out to be quite heterogeneous—then they do not seem well-suited to serve as the basic ingredients of bona fide aesthetic judgment about food and drink. (shrink)

Introduction to a symposium in The Journal of Aesthetics and Art Criticism on the 50th anniversary of Kendall Walton's "Categories of Art." Featuring papers by Madeleine Ransom, Stacie Friend, David Davies and Kendall Walton.

In view of the current progress of what has been named the ‘visual turn’ or the ‘pictorial turn’,1 it is exciting to witness Sam Rose’s return to early aesthetic formalist-modernism, which was so passionate about the medium, its appearance, and visuality. Rose’s project shares a recent inclination to think anew the advent of aesthetic modernism.2 It is founded on the presumption that visual art ought to be – and actually has always been – theoretically subsumed under one meta-project. This meta-project (...) does not necessarily have a clear telos, but it does have a history. In support of this view, Rose appeals to Stanley Cavell’s claim that ‘only masters of a game, perfect slaves to that project, are in a position to establish conventions which better serve its essence. This is why deep revolutionary changes can result from attempts to conserve a project, to take it back to its idea, keep it in touch with its history’ (p. 155). According to Rose’s post-formalist view, the idea of art’s meta-project is the idea of form. (shrink)

An extensive literature about pictorial representation discusses what is involved when a two-dimensional image represents some specific object or type of object. A smaller literature addresses parallel issues in sculptural representation. But little has been said about the role played by the sculptural material itself in determining the meanings of the sculptural work. Appealing to Nelson Goodman and Catherine Elgin’s discussions of literal and metaphorical exemplification, I argue that the material of which a sculpture is constituted plays key roles in (...) what is represented and how it is represented, in part because we have bodily and emotional responses to the real possibilities the sculptural material creates for us. I discuss examples of contemporary artworks by Melvin Edwards, Kara Walker, Willie Cole, Marc Quinn, Ai Weiwei, Janine Antoni, El Anatsui, Zoe Leonard, and others. (shrink)

Sentimentalist aesthetic theories, broadly construed, posit that emotions play a fundamental role in aesthetic experiences. Jesse Prinz has recently proposed a reductionistic version of sentimentalist aesthetics, suggesting that it is the discrete feeling of wonder that makes an experience aesthetic. In this contribution, we draw on Prinz’s proposal in order to outline a novel version of a sentimentalist theory. Contrasting Prinz’s focus on a single emotion, we argue that an aesthetic experience is rudimentarily composed of a plurality of emotions. We (...) acknowledge and discuss significant problems that follow from such a theory, arguing that a pluralist version of sentimentalism is nonetheless the soundest position within sentimentalist aesthetics. (shrink)

In this paper, we consider Noël Carroll’s Content Theory (CT) (2015) and argue that a key problem with CT is that it can be interpreted in two distinct ways: as a descriptive theory of aesthetic experience and as a normative prescriptive theory. Although CT is presented as a descriptive theory of experience, much of what Carroll says implies that CT can also be understood as a theory about how one ought to look at artworks. We argue that when understood as (...) a descriptive theory, CT fails to qualify as a meaningful theory of aesthetic experience. We then interpret the theory prescriptively. Ultimately, this second interpretation is also found lacking: if the aim of the theory is to instruct one on how to view art, it is no longer an attempt to characterize the experience of art. We conclude by arguing that the main flaw in CT is its approach: we cannot meaningfully characterize an experience by enumerating the objects that supposedly cause said experience, and any theory that takes such an approach is likely to be unsuccessful. (shrink)

Wittgenstein’s and Heidegger’s objections against the possibility of a science of aesthetics were influential on different sides of the analytic/continental divide. Heidegger’s anti-scientism leads him to an alētheic view of artworks which precedes and exceeds any possible aesthetic reduction. Wittgenstein also rejects the relevance of causal explanations, psychological or physiological, to aesthetic questions. The main aim of this paper is to compare Heidegger with Wittgenstein, showing that: there are significant parallels to be drawn between Wittgenstein’s and Heidegger’s anti-scientism about aesthetics, (...) and that their anti-scientism leads both towards partly divergent criticisms of what I will call ‘aestheticism’. The divergence is mainly due to a broader metaphilosophical disagreement concerning appeals to ordinary language. Thus situating the two philosophers’ positions facilitates a possible critical dialogue between analytic and continental approaches in aesthetics. (shrink)

Purpose To first articulate and then illustrate a descriptive theoretical model of documentation (i.e., document creation) suitable for analysis of the experiential, first-person perspective. Design/methodology/approach Three models of documentation in the literature are presented and synthesized into a new model. This model is then used to understand the findings from a phenomenology-of-practice study of the work of seven visual artists as they each created a self-portrait, understood here as a form of documentation. Findings A number of themes are found to (...) express the first-person experience of art-making in these examples, including communicating, memories, reference materials, taking breaks and stepping back. The themes are discussed with an eye toward articulating what is shared and unique in these experiences. Finally, the themes are mapped successfully to the theoretical model. Research limitations/implications The study involved artists creating self-portraits, and further research will be required to determine if the thematic findings are unique to self-portraiture or apply as well to art-making, to documentation generally, etc. Still, the theoretical model developed here seems useful for analyzing documentation experiences. Practical implications As many activities and tasks in contemporary life can be conceptualized as documentation, this model provides a valuable analytical tool for better understanding those experiences. This can ground education and management decisions for those involved. Originality/value This paper makes conceptual and empirical contributions to document theory and the study of the information behavior of artists, particularly furthering discussions of information and document experience. (shrink)

Literatur ist ein sehr vielschichtiges und lebendiges Phänomen, das beständig im Wandel ist. So wie sie im Laufe der Jahrhunderte und in den verschiedenen Kulturkreisen unter-schiedliche Formen angenommen und anderen Funktionen gedient hat, liegt es in ihrer Natur, immer wieder neue Ausdrucksformen zu entwickeln, die den sich ändernden Be-dürfnissen und Rahmenbedingungen gerecht werden können. Auch die theoretische Aus-einandersetzung mit der Literatur ist Veränderungen unterworfen, die manchmal wellen-förmige Bewegungen anzunehmen scheinen. Neue Fragestellungen geraten in den Mittel-punkt des Interesses, einzelne Aspekte werden (...) besonders beachtet, während andere in Vergessenheit geraten – um eventuell zu einem späteren Zeitpunkt in neuer Form wieder-aufzutauchen. In der Philosophie der Literatur gilt es seit Längerem als weithin anerkannt, dass der Text die entscheidende Größe sei, und dass die Tatsache, dass an der Produktion und Rezeption von literarischen Kunstwerken Menschen beteiligt sind, die mit diesen Werken Ziele verfolgen und Wünsche und Interessen verwirklichen wollen, ignoriert werden kön-ne. Im vorliegenden Beitrag will ich auf die gegenwärtige Diskussion in der Philosophie der Literatur eingehen und für einen Perspektivenwechsel argumentieren: Um dem Phä-nomen Literatur gerecht zu werden, sollten wir versuchen, es ganzheitlich in das Blickfeld zu bekommen. Literatur ist mehr als bloß Text. Sie ist eine soziale Praxis, die einen festen Stellenwert in unserer Gesellschaft hat und stellt ein Medium dar, in dem wir uns mit an-deren austauschen und auf sie abstimmen können. Mein Hauptaugenmerk liegt auf der Debatte um den kognitiven Gehalt der Literatur, weil hier die negativen Auswirkungen der Verkürzung der vorherrschenden Perspektive besonders augenscheinlich sind. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project that remains (...) fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

I argue that Nietzsche’s criticism of the Kantian theory of disinterested pleasure in beauty reflects his own commitment to claims that closely resemble certain Kantian aesthetic principles, specifically as reinterpreted by Schiller. I show that Schiller takes the experience of beauty to be disinterested both (1) insofar as it involves impassioned ‘play’ rather than desire-driven ‘work’, and (2) insofar as it involves rational-sensuous (‘aesthetic’) play rather than mere physical play. In figures like Nietzsche, Schiller’s generic notion of play—which is itself (...) influenced by Kant’s claim that aesthetic pleasure is orthogonal to desire-satisfaction—becomes decoupled from his (further) Kantian view that aesthetic play essentially involves a harmony of sensuous receptivity and rational spontaneity. The result, I suggest, is a self-standing opposition between desires and passions. This motivates a recognizably Romantic vision of aesthetic disinterestedness, as freedom from desire realized in a state of creative determination by passion. (shrink)

Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.

Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us more often.

Both common sense and dominant traditions in art criticism and philosophical aesthetics have it that aesthetic features or properties are perceived. However, there is a cast of reasons to be sceptical of the thesis. This paper defends the thesis—that aesthetic properties are sometimes represented in perceptual experience—against one of those sceptical opponents. That opponent maintains that perception represents only low-level properties, and since all theorists agree that aesthetic properties are not low-level properties, perception does not represent aesthetic properties. I offer (...) a novel argument—what I call the argument from seeing-as—against that sceptic which moves from consideration of ambiguous figures to consideration of visual art. It concludes that aesthetic properties are sometimes perceived and delivers a general lesson for philosophy of perception. Contrary to extant theories of rich perceptual content, aesthetic properties are far better candidates for high-level perceptual contents than standardly theorized rich contents like natural kinds. (shrink)

I argue that John Dewey’s account of aesthetic experience offers a contextual approach to aesthetic experience that could benefit contemporary contextual definitions of art. It is well known that many philosophers who employ contextual definitions of art (most notably, George Dickie) also argue that traditional conceptions of aesthetic experience are obsolete because they fail to distinguish art from non-art when confronted with hard cases like Marcel Duchamp’s Fountain. While questions of perceptual indiscernibility are a problem for many traditional theories of (...) aesthetic experience, I argue they are not a problem for Dewey. Dewey’s account of experience is not only compatible with Dickie’s ‘institutional theory’ but Dewey’s oft criticized notion of ‘an experience’ additionally brings a needed evaluative component to contextual definitions by showing how appeals to our experience of the theoretical, historical, and institutional contexts of the ‘artworld’ can better explain how something like a urinal can become worthy of aesthetic appreciation. (shrink)

Influential interpretations of Heidegger’s Origin of the Work of Art focus on the view that great art is massive and communal—typically structures like temples and cathedrals. This approach, however, faces two interpretive problems. First, what are we to do with artworks in the essay that clearly are not monumental or communal, such as van Gogh’s Shoes? Second, how should we understand our experience of works such as the Greek temple, which once were but are no longer central in this way? (...) Heidegger himself says that great art of the past becomes either a relic of the past or a mere object of aesthetic experience, but his description of his own experience with a Greek temple seems to contradict this. To understand Heidegger’s views on art—including his explicit claims about the limited vitality of great art of the past and his unintentional case for the continued power of great art of the past—it is crucial to distinguish, first, between Heidegger’s notions of world and worldhood, and, second, between two senses of what makes art great—world disclosure and world gathering. Doing so allows us to make better sense both of the essay as a whole and the potential continued vitality of great art of the past. (shrink)

A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.

I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis aesthetic pleasure.

We discuss how analysis of contemporary artworks has shaped philosophical theories about the concept of art, the ontology of art, and artistic media. The rapid expansion, during the contemporary period, of the kinds of things that can count as artworks has prompted a shift toward procedural definitions, which focus on how artworks are selected, and away from definitions that focus exclusively on artworks’ features or effects. Some contemporary artworks challenge the traditional art–ontological dichotomy between physical particulars and repeatable entities whose (...) occurrences are physical particulars. And nontraditional techniques and materials employed in contemporary art violate the boundaries of conventional media, prompting a rethinking of what artistic medium might be. (shrink)

In this paper, I propose a novel theory for why we find certain mundane everyday experiences, objects, and phenomena satisfying aesthetic experiences. I refer to these as 'oddly satisfying' experiences, and argue that they assert themselves as aesthetic by being suggestive of the cinematic. This cinematic quality is the product of everyday experiences gesturing towards a kind of careful artistic intent.

The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...) about our relation to the world rather than anything about the world per se. Nonetheless there is an objective sense of the sublime in that the narratives involved are culturally endorsed rather than invented by an individual. This means that objects can be judged worthy or not of evoking experiences of the sublime. In other words, it is not an idiosyncratic matter. Immanuel Kant’s formulation of this involved explaining how such an experience is possible in terms of his system of the mind. Jane Forsey notes that Kant takes the features of the sublime as given and extrapolates from them certain features of the mind as if any concept of the sublime must implicate the mental architecture of his account (2007). Further to this she argues that in fact the concept of the sublime does implicate a particular system of the mind but neither Kant nor anyone else can successfully formulate it because the concept itself frames certain contradictions. According to Forsey, two consequences follow. First she argues that Kant’s system of the mind does not support the features of the sublime; and secondly that no system could as the very concept is incoherent. If Forsey can show that Kant was mistaken in presenting his account as coherent given his commitments, this would be of interest in its own right. However, her stronger claim is that we cannot separate any concept of the sublime out from Kant’s theoretical underpinnings. That the way the features of the mind are meant to operate in experiences of the sublime are contradictory simply points to the fatal flaws in the whole concept. Her conclusion is that there is no coherent account of the sublime available to us. I will argue that Forsey bases her reasoning on the assumption that a foundational empiricist or direct perception holds; and she interprets Kant’s notions of imagination, understanding and reason as though they are grounded in just such an account of perception. This is revealed in her interpretation of Kant’s phrase “beyond cognition”. Once this foundationalism is replaced with an account of perception more aligned with current research on perception, both philosophical and empirical, then an account of the sublime is available. Further to this however, I argue that what constitutes the narrative of the sublime is historically contingent. Before setting out my arguments, I consider Forsey’s argument in more detail. (shrink)

The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...) action, but unusable for doxastic repetition. I consider a new asymmetry in the usability aesthetic testimony. Consider the following cases: we seem unwilling to accept somebody hanging a painting in their bedroom based merely on testimony, but entirely willing to accept hanging a painting in a museum based merely on testimony. The switch in intuitive acceptability seems to track, in some complicated way, the line between public life and private life. These new cases weigh against a number of standing theories of aesthetic testimony. I suggest that we look further afield, and that something like a sensibility theory, in the style of John McDowell and David Wiggins, will prove to be the best fit for our intuitions for the usability of aesthetic testimony. I propose the following explanation for the new asymmetry: we are willing to accept testimony about whether a work merits being found beautiful; but we are unwilling to accept testimony about whether something actually is beautiful. (shrink)

Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories.

In the Critique of the Power of Judgment, Kant introduces the notion of the reflective judgment and the a priori principle of purposiveness or systematicity of nature. He claims that the ability to judge objects by means of this principle underlies empirical concept acquisition and it is therefore necessary for cognition in general. In addition, he suggests that there is a connection between this principle and judgments of taste. Kant’s account of this connection has been criticized by several commentators for (...) the reason that it leads to the ‘everythingisbeautiful’ problem. In this paper I argue, contrary to these objections, that both finding an object beautiful and acquiring the concept represent the satisfaction of the same principle of nature’s purposiveness, which refers to the same cognitive need we have, that is, to systematize experience. I avoid the ‘everything is beautiful’ problem by arguing that aesthetic reflection refers to the synthesis of object’s individual and distinctive properties, while logical reflection refers to the synthesis of object’s general properties that it shares with other objects of its kind. Because aesthetic purposiveness is different from logical purposiveness, this allows for the possibility that we can have an object of cognition, without finding this object beautiful. (shrink)

Comparisons between audiobook listening and print reading often boil down to the fact that audiobooks impose limitations on the recipient’s continuous in-depth reflection. As a result, audiobook listening is considered a shallow alternative to reading. This chapter critically revisits the following three intuitions commonly associated with such comparisons: 1) Audiobooks elicit more mental imagery than print. 2) Audiobooks invite more inattentive processing than print. 3) Audiobook listening is more contingent on the environment than print reading. Instead of postulating the superiority (...) of print over audio, the chapter argues that the three intuitions are largely based on a misconception of print reading, its experiential characteristics, and its function. (shrink)

What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...) contextual and dynamic speci- ficity. Through both phenomenological and neuroscientific explorations I analyze what is characteristic about a more “aesthetic stance” and argue that there is a certain asym- metry between beholder and beheld, which has to do with a disengagement of goal- directed action, and which allows for other kinds of perceptual involvement than in a more “practical stance”. It is a multi-disciplinary project integrating a sensorimotor no- tion of aesthetic affordances, 18th century philosophy, and large-scale brain network findings. What ensues is a new dynamic framework for future empirical and theoretical research on aesthetic perception. (shrink)

I offer a critique of Melissa Zinkin’s reading of Kant’s analysis of aesthetic judgment. She argues that in judgments of taste the imagination is freed from its determinate relation with the understanding because the form of intuition in which beauty is apprehended is different from the form of intuition employed in determinate judgment. By distinguishing between an extensive and intensive form of intuition, this interpretation is able to explain why the apprehension of beauty cannot be subsumed under a concept. But (...) I contest Zinkin’s identification of the sensus communis with this intensive form of intuition. I then substantiate two interrelated claims: that we can account for the genesis of the sensus communis by distinguishing between an intensive and an extensive form of time, and that we can avoid making the sensus communis atemporal by showing that it resides within an intensive form of time as a condition for its possibility, thereby structuring Kant’s account of the sensus communis securely within the critical framework. (shrink)

The ability to form „images“ of our experiences with the world (imaging effect) and to adjust our drive and determination in accordance with those images (action effect) is what characterises men, as stipulated by Cassirer and subsequently confirmed by Langer and Krois. Special techniques are required to communicate to others the images of life and how we interpret them. The art as a technique does this masterly by presenting us the views of others on their experiences and wishes through aesthetic (...) experience. Therefore, it is necessary to analyse images not only with respect to their historical aspects based on experiences with the world but to emphasise their power to shape the future by their potential to affect our actions. - / - Die Fähigkeit „Bilder“ unserer Erfahrungen mit der Welt zu formen (Bildkraft) und unser Streben und Wollen (Tatkraft) nach ihnen auszurichten, das ist es, was den Menschen nach Cassirer – und nachfolgend auch nach Langer und Krois – auszeichnet. Voraussetzung dafür die Bilder des Lebens und das, was wir von ihnen halten, zu objektivieren und Anderen zu kommunizieren, bilden Techniken. Die Kunst als Technik ist darin eine Meisterin, indem sie uns über die ästhetische Erfahrung Anschauungen Anderer von ihren Erfahrungen und Wünschen, lebendig vor Augen zu führen vermag. Bei der Analyse von Bildern gilt es insofern nicht nur deren geschichtsträchtigen, auf Erfahrungen mit der Welt beruhenden Aspekte zu untersuchen, sondern vor allem auch deren zukunftsprägendes und damit unsere Tatkraft ansprechendes Potential. (shrink)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)

The body is relevant for aesthetics from two perspectives. We experience and assess bodies aesthetically from the outside; and we have aesthetic experiences of and through our bodies from the inside. In experiences of one’s own body, these perspectives often intersect in interesting ways. From both perspectives, the body is a site where aesthetic and ethical considerations are deeply intertwined. This article includes discussion of Beauty and the Body, Aesthetic Body Practices, Body Aesthetics and Gender Construction, Somatic Dimensions of Aesthetic (...) Experience, and The Body in Contemporary Art. (shrink)