Aesthetic Judgment

Aesthetic statements of the form ‘X is beautiful’ are evaluative; they indicate the speaker’s positive affective attitude regarding X. Why is this so? Is the evaluative content part of the truth conditions, or is it a pragmatic phenomenon (i.e. presupposition, implicature)? First, I argue that semantic approaches as well as these pragmatic ones cannot satisfactorily explain the evaluativity of aesthetic statements. Second, I offer a positive proposal based on a speech-act theoretical version of hybrid expressivism, which states that, with the (...) literal utterance of ‘X is beautiful’, we perform two illocutionary acts simultaneously, an assertive and an expressive one. I will specify this theory in detail and argue that it can satisfactorily account for the evaluative content of aesthetic statements. I will also discuss the advantages of the theory over other variants of expressivism in meta-aesthetics. (shrink)

A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the paradox of taste. The existence of the paradox has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper we remedy this by proposing six possible conceptualizations of the paradox of taste. Drawing on our analysis of the paradox, we argue that the (...) experimental results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support. (shrink)

Darwin hypothesized that some animals, when selecting sexual partners, possess a genuine “sense of beauty” that cannot be accounted for by the logic of natural selection. This hypothesis has been notoriously controversial. In this chapter I propose that the concept of agency can be useful to operationalize the “sense of beauty”, and can help identify the conditions under which one can infer that animals are acting as (aesthetic) agents. Focusing on a case study of the behavior of the Pavo cristatus, (...) I identify the types of evidence that would allow for the inference of agency through aesthetic choice. (shrink)

Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some of (...) its versions) is not threatened by their examples and arguments. (shrink)

We demonstrate that many philosophers accept the following claim: When an aesthetic object is apprehended correctly, taking pleasure in said object is a reliable sign that the object is aesthetically successful. We undermine this position by showing that what grounds our pleasurable experience is opaque: In many cases, the experienced pleasure is attributable to factors that have little to do with the aesthetic object. The evidence appealed to is a form of Higher-Order Evidence (HOE) and we consider attempts to overcome (...) said evidence. We argue they are unsuccessful. We conclude by considering what this means for our practice of making aesthetic judgements. (shrink)

Stanley Cavell’s account of aesthetic judgment has two components. The first is a feeling: the judge has to see, hear, ‘dig’ something in the object being judged, there has to be an ‘emotion’ that the judge feels and expresses. The second is the ‘discipline of accounting for [the judgment]’, a readiness to argue for one’s aesthetic judgment in the face of disagreement. The discipline of accounting for one’s aesthetic judgments involves what Nick Riggle has called a norm of convergence: the (...) judge aims to get one’s audience to taste see or hear what the judge tastes or sees or hears in the object being judged. Because of the unmistakable difficulty in reaching agreement in aesthetic judgment, Riggle has denied that aesthetic judgment requires a convergence norm and has proposed instead that it requires ‘a kind of harmony of individuality’ (which Riggle calls ‘vibing’). We argue that Cavell offers a version of the convergence norm that is distinct from those that Riggle criticizes, namely Kant’s demand for agreement and Andy Egan’s presupposition of similarity in dispositions in ‘non-defective’ aesthetic conversations. Cavell’s version of the convergence norm is ‘the hope of agreement’. One can hope that one’s audience will agree with one’s aesthetic judgments even when one isn’t in a position to demand agreement or to presuppose similarity in the dispositions that would make agreement more likely. Cavell’s distinct convergence norm avoids Riggle’s criticisms and contributes to a richer account of what’s going on when we disagree about aesthetic matters. (shrink)

Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.

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)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning the nature (...) of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

I demonstrate that analogies, both explicit and implicit, between Wittgenstein’s discussions of rituals, aesthetics, and aspect-perception, have important payoffs in terms of understanding his notion of a “surveyable representation” (übersichtliche Darstellung) as it applies to phenomena that are not exclusively grammatical in nature. In particular, I argue that a surveyable representation of certain anthropological and aesthetic facts allows us to see, qua form of aspect-perception, internal relations and formal connections, so that the inner nature of a ritual or the solution (...) of an aesthetic puzzle is exhibited. This particular form of seeing both explains why Wittgenstein thought that hypothetical explanations about the origins of a ritual are irrelevant to appreciating its meaning and elucidates his understanding of rituals, which involves seeing “internal relations” and “formal connections.” The upshots of the account for work in anthropology are discussed. (shrink)

What is the source of aesthetic knowledge? Empirical knowledge, it is generally held, bottoms out in perception. Such knowledge can be transmitted to others through testimony, preserved by memory, and amplified via inference. But perception is where the rubber hits the road. What about aesthetic knowledge? Does it too bottom out in perception? Most say “yes”. But this is wrong. When it comes to aesthetic knowledge, it is appreciation, not perception, where the rubber hits the road. The ultimate source of (...) aesthetic knowledge is feeling. In this essay, we articulate and defend the very idea of affective knowledge and reveal aesthetic knowledge to be a species of the genus. We then show how the view resolves a thorny problem that has bedeviled aesthetic epistemologists: how to reconcile the seemingly direct character of aesthetic knowledge with the possibility of acquiring such knowledge from criticism. One learns from criticism, we argue, when it guides one’s engagement with an object so that one can appreciate it in virtue of those of its features that render it worthy of appreciation. (shrink)

Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s aesthetics is a promising resource for developing a model of aesthetic humility. Initially, however, this may seem like an unpromising starting point as Kant’s aesthetics might appear to promote aesthetic arrogance instead. In spite of this prima facie worry, I claim that Kant’s aesthetics provides an illuminating model of aesthetic humility that sheds light (...) not only on the self- and other-directed attitudes it involves, but also on how aesthetic humility can serve as a corrective to the vices of aesthetic arrogance and aesthetic servility. In addition to revealing the ways in which Kant’s aesthetics prizes humility rather than arrogance, I aim to show that the Kantian model of aesthetic humility can enrich our understanding of humility more generally and contribute to the on-going effort in aesthetics to analyse specific aesthetic virtues and vices. (shrink)

It is widely acknowledged that categories play significant roles in the appreciation of artworks. This paper argues that the correct categories of artworks are institutionally established through social processes. Section 1 examines the candidates for determining correct categories and proposes that this question should shift the focus from category membership to appreciative behaviour associated with categories. Section 2 draws on Francesco Guala’s theory of institutions to show that categories of artworks are established as rules-in-equilibrium. Section 3 reviews the explanatory benefits (...) of this institutional theory of the correct category. [Winner of the 2022 Debates in Aesthetics Essay Prize]. (shrink)

In this chapter, Jussi Backman approaches Hannah Arendt’s readings of ancient philosophy by setting out from her perspective on the intellectual, political, and moral crisis characterizing Western societies in the twentieth century, a crisis to which the rise of totalitarianism bears witness. To Arendt, the political catastrophes haunting the twentieth century have roots in a tradition of political philosophy reaching back to the Greek beginnings of philosophy. Two principal features of Arendt’s exchange with the ancients are highlighted. The first is (...) her account, in The Human Condition (1958), of the profound transformation of the Greek perceptions of political life initiated by Plato, the founder of the Western tradition of political philosophy; this transformation, according to Arendt, leads to an instrumentalization of politics as a means toward a higher end. The second feature is Arendt’s distinction, in her unfinished Life of the Mind (1977–8), between three different points of departure for thinking discovered by ancient philosophy—wonder, fear, and conscience—and three different outcomes of thinking—contemplation, willing, and judging. Backman argues that what connects these two interpretations of ancient philosophy is an attempt to rethink and rearticulate the complex relationship between thinking and action, between the reflective vita contemplativa and the world-oriented vita activa. (shrink)

Although the concept of judgment has been replaced by the concept of belief in many philosophical subdisciplines, it has retained its central role in aesthetics. This paper discusses the following explanation for this: In contrast to the concept of belief, the concept of judgment presupposes conscious and first-personal engagement with the object about which the judgment is being made, and this conscious and first-personal engagement with the object in question plays a more important role in aesthetics than in other domains.

According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas handmade pictures acquire their depictive content from their makers’ intentional states about the world. CTP suffers from what I call the Problem of the Missing Agent: it seemingly leaves no room for the photographer to occupy a causal role in the production of their pictures and so is inconsistent with an aesthetics of photography. In this paper, I do three things. First, I amend (...) CTP with Fred Dretske’s distinction between triggering and structuring causes, thereby overcoming the Problem of the Missing Agent. Second, I argue that CTP so amended in fact illuminates two aesthetic interests that we may take in photographs, focussing on photographic portraiture and street photography. Third, I show how reflection on the aesthetics of photography serves to support aesthetic anti-empiricism: the view that the aesthetic value of artworks consists, at least in part, in achievement rather than sensory pleasure. (shrink)

In philosophical aesthetics, discussions on design objects place the notion of Functional Beauty at the fore. Such a philosophical approach can be found in Jane Forsey’s book The Aesthetics of Design that focuses on the notion of function to promote the aesthetic value of design and develops an interpretation of Kantian Dependent Beauty around it. Lucía Jiménez Sánchez has recently put forward several flaws of Functional Beauty accounts. She presented several practical cases as evidence for the narrowness of Functional Beauty (...) accounts. Two cases are presented against Jane Forsey’s theory of Dependent Beauty, holding that it excludes other properties from appreciation that are not necessarily related to functionality, i.e., expres- sive properties. The purpose of this article is to show that these criticisms leveled at Jane Forsey’s proposal for an aesthetic theory of design are unfounded and are based on a misun- derstanding of the structure of judgments of beauty in her system. Despite this, these criticisms highlight the need to clarify the purpose of the aesthetics of design. (shrink)

The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...) their aesthetic evaluation and appreciation. This is why and how art is non-contingently related to pleasure. Call this, the Affective View. While I don’t advance conclusive arguments for the Affective View in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors’ power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the Affective View is worth serious reconsideration. (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)

Welchen Zweck verfolgen wir mit ästhetischen Urteilen, wie z.B. „Das ist schön“? Drücken wir damit nur unsere Begeisterung aus oder schreiben wir Gegenständen objektive, von uns unabhängige Eigenschaften zu? Können ästhetische Urteile wahr oder falsch sein, und falls ja, gilt der jeweilige Wahrheitswert dann allgemeingültig oder muss er in gewisser Hinsicht relativiert werden? Das Buch ist der Aufgabe gewidmet, Fragen dieser Art zu beantworten. Sprachphilosophische Fragen in Bezug auf ästhetische Urteile lassen sich allerdings nur dann präzise behandeln, wenn man sie (...) um metaphysische Analysen ästhetischer Eigenschaften ergänzt. Es wird daher eine kombinierte Theorie ästhetischer Urteile und Eigenschaften motiviert, im Detail ausgearbeitet und gegen Angriffe verteidigt. Die Theorie verbindet Elemente einer Doppelsprechakttheorie – nach der wir mit ästhetischen Aussagen simultan beschreibende und expressiv-bewertende Akte ausführen – mit einer reaktions-dispositionalen Charakterisierung ästhetischer Eigenschaften. (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.

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...) But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

This paper aims to delineate the class of aesthetic judgments linguistically. The main idea is that aesthetic judgments can be specified by a certain set of assertibility conditions, i.e., by norms that govern appropriate speech-acts. This idea is spelled out in detail and defended against various objections. The suggestion leads to an interesting account of aesthetic judgments that is theoretically fruitful: It provides the basis for a non-circular and satisfying characterization of the whole domain of aesthetic research and it marks (...) an important linguistic difference between aesthetic judgments and judgments of personal taste. (shrink)

This paper introduces the reconciliation as well as an analysis of the divide between contemporary and classical aesthetics in architecture. The analysis outlines the segmentation as one of the standards rather than of aesthetic appeal, concluding with a proposal for the reconciliation by means of integrating modern and contemporary art into today’s architecture. This reconciliation would not only serve as an artistic take on architecture but also raise awareness of the subjectivity of beauty in architecture. In the conclusion of this (...) paper, there are highlighted illustrations demonstrating the picturesque outcome of using this proposed method of integration. (shrink)

This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...) entails ipso facto a critique of an influential idea of musical motion, which has been recurring in the work of some major philosophers of music up until the present day. The article connects Wittgenstein’s critical remarks on the confused foundations of such “Augustinian Picture of Music” with his emphasis on the notion of phrasing or characterization in language and music. Wittgenstein’s reversal of Augustinian priorities regarding musical time brings to surface the particularity of expression and the aesthetically “right” in music, evoked by Wittgenstein’s remarks on simultaneity and tempo in music and language. Wittgenstein renders musical simultaneity as enabled by a “protocol” which inheres in musizieren, in the aptly collaborative quest for drawing in significance by means of the phrasing and re-phrasing of a passage in order to characterize it, enabling by means of such comparative investigation meaningful distinctions between right and wrong. (shrink)

Contextualist accounts of aesthetic predicates have difficulties explaining why we feel that speakers are disagreeing when they make true and compatible but superficially contradictory aesthetic judgments. One possible way to account for the disagreement is hybrid expressivism, which holds that the disagreement happens at the level of pragmatically conveyed, clashing contents about the speakers’ conative states. Marques defends such a strategy, combining dispositionalism about value, contextualism, and hybrid expressivism. This paper critically evaluates the plausibility of the suggested pragmatic mechanisms in (...) conveying the kind of contents Marques takes to explain disagreements. The positive part suggests an alternative account of how aesthetic judgments are sources of information about speakers’ conative aesthetic states. (shrink)

Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and meaningful (...) attachments to symbols in relation to our retentional apparatuses, technology and memory. Such tension can be thought of as a dissonance between overlapping domains of social life, private and public. New Media is a reflection of aesthetic dissonance, an experience such as being bored and entertained at the same time, between antagonistic experiences, values, and behavior. Moreover, new media is at once a medium of customizing aesthetic experience individually as well as the threat and practice of prioritizing calculability and modeling of consumer behavior in favor of capitalistic effectiveness, which results in the simultaneous categorization of an individual as a data point, putting those who do not fit an algorithm’s premises at a disadvantage. (shrink)

We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...) aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment. (shrink)

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.

Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...) evaluative and developmental practices in scientific theory selection as genuinely aesthetic, enlarging the scope of the goals of science. (shrink)

Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, aesthetic judgements may be unreasoned, (...) insofar as they are immediate judgements made on the basis of, and acquiring their justification from, causally prior sensory states. Yet they may also be reasoned, insofar as they may be the outputs of certain inferences. Crucially, a token aesthetic judgement may be unreasoned and reasoned, simultaneously. A key reason for allowing inference a serious role in aesthetic judgements emerges from reflection upon the nature of aesthetic expertise. (shrink)

This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a work of art (...) is its capacity to elicit from a suitably well-informed consumer a specific kind of pleasure. (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)

This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...) properties as causally efficient powers, analogous to properties like fragility or poisonousness. To show how such a view can be made ontologically respectable, I draw on recent ‘dispositionalist’ accounts of powers in philosophical metaphysics. I then offer two arguments in favour of this view. First, the view matches the phenomenology of aesthetic judgement. Second, the view offers an explanation of how it is that critics can demand agreement with their aesthetic judgements. (shrink)

Evolution and geometry generate complexity in similar ways. Evolution drives natural selection while geometry may capture the logic of this selection and express it visually, in terms of specific generic properties representing some kind of advantage. Geometry is ideally suited for expressing the logic of evolutionary selection for symmetry, which is found in the shape curves of vein systems and other natural objects such as leaves, cell membranes, or tunnel systems built by ants. The topology and geometry of symmetry is (...) controlled by numerical parameters, which act in analogy with a biological organism’s DNA. The introductory part of this paper reviews findings from experiments illustrating the critical role of two-dimensional (2D) design parameters, affine geometry and shape symmetry for visual or tactile shape sensation and perception-based decision making in populations of experts and non-experts. It will be shown that 2D fractal symmetry, referred to herein as the “symmetry of things in a thing”, results from principles very similar to those of affine projection. Results from experiments on aesthetic and visual preference judgments in response to 2D fractal trees with varying degrees of asymmetry are presented. In a first experiment (psychophysical scaling procedure), non-expert observers had to rate (on a scale from 0 to 10) the perceived beauty of a random series of 2D fractal trees with varying degrees of fractal symmetry. In a second experiment (two-alternative forced choice procedure), they had to express their preference for one of two shapes from the series. The shape pairs were presented successively in random order. Results show that the smallest possible fractal deviation from “symmetry of things in a thing” significantly reduces the perceived attractiveness of such shapes. The potential of future studies where different levels of complexity of fractal patterns are weighed against different degrees of symmetry is pointed out in the conclusion. (shrink)

We investigated whether mathematicians typically agree about the qualities of mathematical proofs. Between-mathematician consensus in proof appraisals is an implicit assumption of many arguments made by philosophers of mathematics, but to our knowledge the issue has not previously been empirically investigated. We asked a group of mathematicians to assess a specific proof on four dimensions, using the framework identified by Inglis and Aberdein (2015). We found widespread disagreement between our participants about the aesthetics, intricacy, precision and utility of the proof, (...) suggesting that a priori assumptions about the consistency of mathematical proof appraisals are unreasonable. (shrink)

Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...) dualities of the beautiful/sublime and Apollonian/Dionysian to advocate their general philosophical worldview, and that the initial formation (in Observations and The Birth of Tragedy) and final dissolution (in the Critique of Judgment and Zarathustra and other later works) of these dualities are determined by the gradually established telos of their philosophical endeavor. Therefore, by observing the evolution of these so-called dualities, Kaplama gathers important clues as to how Kant’s and Nietzsche’s aesthetics transformed into different ways to affirm human art and life. On the one hand, Kaplama argues, the Dionysian came to be the heart and soul of Nietzschean aesthetics and ethics, and the Apollonian (or the formal drive of individuation) was reduced into a mere aesthetic criterion. On the other, Kant treats the sublime (which is originally an idea-producing feeling and/or judgment) as a mere appendix to his Critique of Judgment and aesthetic theory teleologically reducing it into its possible moral consequences. This is why Schopenhauer calls the sublime “by far the most excellent thing in the Critique of Judgment” which touches on the real problem of aesthetics very closely but does not provide a real solution for it. Kant’s forced teleological move is to make his theory of aesthetic judgment stand as a ‘reaffirmation’ of the earlier ethical justification he believed to have accomplished in the first two Critiques and the Groundwork where he defends an affirmation of human life through a teleological morality centered on the principle of free-will. In contrast, Nietzsche’s aesthetics (particularly the Dionysian) guides his ethics and metaphysics again through defining an ideal human nature without which ethos would be static and meaningless, lacking the ability to move and change and represent the tragic pathos of human life. (shrink)

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)

The existing body of scholarship on Kant’s Critique of Judgment is rife with disagreement. At the centre of much of this disagreement is the issue of precisely what Kant understands to be taking place in a harmonization of the cognitive faculties. Is aesthetic reflective judgment to be identified with, or separated from, this harmonious state of the faculties of imagination and understanding? If aesthetic judgment is identified with this state, as is argued herein, then upon what is a judgment of (...) beauty to be based? These questions are addressed by focussing on two closely related aspects of Kant’s theory of reflective judgment; the role Kant assigns to the power of desire (i.e., to the will) and to the causal structure implicated in reflective judgment. In brief, we argue that a judgment of beauty is not, strictly speaking, something that I do, but is better described that something that happens of itself. (shrink)

Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.

The question of whether or not beauty exists in nature is a philosophical problem. In particular, there is the question of whether artworks, persons, or nature has aesthetic qualities. Most people say that they care about their own beauty. Moreover, they judge another person's appearance from an aesthetic point of view using aesthetic concepts. However, aesthetic judgements are not objective in the sense that the experience justifies their objectivity. By analysing Monroe C. Beardsley's theory of the objectivity of aesthetic qualities, (...) I examine whether there are really beautiful and ugly persons in the world. I will criticize the way analytic philosophers judge people and art from an aesthetic perspective. If there are no aesthetic qualities in the world, nobody can judge someone beautiful or ugly without oppression. Aesthetic judgement is exercise of power. (shrink)

In this essay I point out parallels between Kant’s theory of aesthetics and Wittgenstein’s discussion of rule following. Although Wittgenstein did not write an aesthetics and Kant did not discuss Wittgensteinian rule-following problems, and although both Kant and Wittgenstein begin at very different starting points and use different methods, they end up dealing with similar issues, namely issues about rules, particularity, exemplarity, objectivity, practice, and as-if statements.

The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just as (...) obvious to many philosophers that aesthetic judgment requires first-person experience. In this article we argue that, despite its initial appeal, the claim that gustatory and critical judgments are analogous in this way is mistaken. The two sorts of judgments are, as a matter of fact, similar in their epistemology, but earlier theorists have got things entirely backward—neither gustatory judgment nor aesthetic judgment requires first-hand acquaintance with their objects. Our particular focus in this article is on arguing that first-person experience is not required to know how an item of food or drink tastes. In fact, there are a wide variety of ways in which we can acquire this knowledge. (shrink)

In the recent literature on the issue, a number of commentators have argued that Kant’s aesthetic theory commits him to the position that nothing is ugly. For instance, in ‘Why Kant finds nothing ugly’, Shier argues that ‘within Kant’s aesthetics, there cannot be any negative judgments of taste’ (Shier (1998): 413). And in ‘Kant’s problems with ugliness’, Thomson claims that ‘Kant’s aesthetic theory precludes […] ugliness’ (Thomson (1992): 107). In other words, as it is presented in some of the literature, (...) Kant’s account of aesthetic judgment seems to preclude him from accounting for the possibility of ugliness. A number of reasons have been put forward to explain why there can be no ugliness for Kant. Some have to do with his account of experience in general. Others have to do with the very nature of the free play between imagination and understanding. Of course, the real source of the problem is that the Critique of Judgment does not actually discuss ugliness, so commentators are left with the task of filling in the gaps. This paper aims to argue that Kant’s account of aesthetic judgment commits him not only to the existence of the ugly, but to the distinction between two kinds of ugliness. To support this claim, I will start from the premise that if there is to be room for ugliness, it should be defined as the contrary of beauty. However, I will suggest that Kant’s account of beauty can be negated in two ways, one that gives rise to impure ugliness and the other to pure ugliness. I will examine them in turn, first by showing that impure ugliness is the contrary of beauty insofar as it contravenes our interests and produces a desire to dispose of it, whereas beauty is necessarily disinterested for Kant. In the second section, I will use Kant’s definition of judgments of pure beauty to carve a space for an account of pure ugliness. For, it should present all the characteristics that make it “pure” whilst replacing the characteristics that make it beautiful with the ones that make it ugly. On this basis, I will define pure ugliness as the disinterested displeasure caused by the experience of what I will call “foul play” between the imagination and the understanding. (shrink)

In this article, I present two objections against the view that aesthetic judgements – that is, judgemental ascriptions of aesthetic qualities like elegance or harmony – are justified non‐inferentially. The first is that this view cannot make sense of our practice to support our aesthetic judgements by reference to lower‐level features of the objects concerned. The second objection maintains that non‐inferentialism about the justification of aesthetic judgements cannot explain why our aesthetic interest in artworks and other objects is limited to (...) only some of their lower‐level features that realise their higher‐level aesthetic qualities. Although my concern with the view that aesthetic judgements are subject to non‐inferential justification is very general, my discussion is primarily structured around Sibley's well‐developed and influential version of this view. (shrink)

Alcune opere d'arte manifestano (o suggeriscono di assumere) prospettive morali dubbie e, in certi casi, chiaramente deprecabili. Ad esempio, il documentario propagandista Il Trionfo della Volontà di Leni Riefensthal esprime (e cerca di evocare) ammirazione nei confronti di Adolf Hitler. Nonostante ciò, Il Trionfo della Volontà è considerato un capolavoro nel genere dei documentari. Questo e molti altri esempi simili suggeriscono le seguenti domande: É possibile considerare un'opera d'arte un capolavoro artistico e, allo stesso tempo, un esempio di immoralità? La (...) valutazione morale di un'opera d'arte influisce o dovrebbe influire sulla valutazione artistica dell'opera? (shrink)

In den letzten Jahren ist es recht populär geworden, traditionelle Fragen der philosophischen Ästhetik – wie zum Beispiel die nach der Natur und Rechtfertigung ästhetischer Beurteilungen – mithilfe empirischer Forschungsergebnisse zu beantworten zu versuchen. Diesem empiristisch geprägten Ansatz möchte ich gerne eine rationalistisch orientierte Auffassung der ästhetischen Erfahrung und Bewertung von Kunstwerken entgegensetzen. Insbesondere werde ich die ästhetische Relevanz dreier verschiedener Arten empirischer Studien kritisch diskutieren: (i) solcher, die einzelne Kunstwerke unter Einsatz der Natur- oder Geschichtswissenschaften erforschen; (ii) solcher, die (...) sich der empirischen Methoden der Psychologie und der Soziologie bedienen, um unsere ästhetischen Beurteilungen einzelner Werke oder Werkgruppen zu untersuchen; und schliesslich (iii) solcher, die unser allgemeines ästhetisches Urteilsvermögen einer kognitionswissenschaftlichen Überprüfung unterziehen. (shrink)

Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations of individual artworks (...) or, more generally, our interaction with art. The main thesis to be defended is that third-personal empirical findings are of limited significance for both critical and philosophical aesthetics. Indeed, they matter only to the extent to which they draw our attention to features or facts that we then iden- tify, from our first-personal perspective, as aesthetically relevant — for instance, as reasons counting for or against certain ascriptions of aesthetic value, or as factors that causally influence our actual as- sessments and thus render them partly inadequate or irrational. This limited significance of empirical findings is in line with the rationalist approach to the formation and justification of aesthetic judgements, that I have already started to defend elsewhere. -/- With respect to critical aesthetics, one problem is that empirical investigations cannot capture the normativity of the aesthetic relevance of lower-level features or facts: the respective studies can tell us what we take to be reason-giving or valuable, but not what is reason-giving or valuable. Furthermore, we cannot use empirically knowable principles to infer the presence of aesthetic values or reasons on the basis of recognising measurable lower-level features because the only available principles are too specific to allow for their actual application to more than one existing object, or even for their actual formulation. For their antecedents make reference to a large number of very determinate properties, as well as sometimes to particular events of creation. The only exception are conceptual principles (such as ‘something symmetrical is balanced’) or default principles (such as ‘something elegant is, by default, beautiful’). But knowledge of these principles is of little inferential use due to the holistic character of the justificatory power of aesthetic reasons and, moreover, does not allow for empirical acquisition. -/- With respect to philosophical aesthetics, I start with considering the limits of evolutionary accounts of aesthetic value. Even if it is true that humans originally came to value artworks because they recognised that artworks reveal certain skills or features of artists (such as imaginativeness or resourcefulness) that are desirable in sexual partners, it does not value that our reasons for valuing art have not changed, or at least not become much more complex. In addition, the answer to the question of why we value art from an evolutionary perspective has no obvious bearing on the issue of how we should appreciate art from an aesthetic perspective, or what such aesthetic appreciation would consist in. On the other hand, experimental studies showing that our actual aesthetic evaluations are influenced by factors (such as exposure e ects, or knowledge of the prices of objects), that undermine the good standing of our responses, just reveal that it is more difficult than perhaps expected to form sound aesthetic judgements; and that we need to improve our future aesthetic judgements by diminishing as much as possible the impact of those factors. (shrink)

Paul Crowther provides interpretations of key concepts in Kant’s Critique of Aesthetic Judgment, indicating (particularly in very informative footnotes) how his views compare with those of other Kant commentators such as Paul Guyer, Rachel Zuckert, Béatrice Longuenesse, Henry Allison, Donald Crawford, Robert Wicks and others. One might be inclined to ask whether yet another interpretation of Kant’s third critique was needed, yet compared to his other two critiques, Kant’s Critique of Judgment can still be regarded as the neglected sibling. Its (...) relevance to his system as a whole and in particular to his moral theory is still under appreciated. However, if one is after a study of Kant’s third critique along these lines, this is not the place to find it. Crowther has his philosopher of art hat firmly in place in the writing of this study. Even so, adopting this approach Crowther shows us that there is still work to be done. Crowther takes the core of Kant’s thesis and argues that its implications extend far beyond what Kant could have envisaged. (shrink)