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)

What is it for a picture to depict a scene? The most orthodox philosophical theory of pictorial representation holds that depiction is grounded in resemblance. A picture represents a scene in virtue of being similar to that scene in certain ways. This essay presents evidence against this claim: curvilinear perspective is one common style of depiction in which successful pictorial representation depends as much on a picture's systematic differences with the scene depicted as on the similarities; it cannot be analyzed (...) in terms of similarity alone. The same problem arises for many other kinds of depiction. The essay concludes that depiction in general is not grounded in resemblance but geometrical transformation. (shrink)

I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...) ugliness sits opposed to beauty across a neutral midpoint (the argument from proposed intensions). And third, ugliness and disgustingness function in the same way in both giving rise to representations of contamination (the argument from the law of contagion). In making these arguments, I show why prominent objections to the thesis do not succeed, cast light on some of the artistic functions of ugliness, and, in addition, demonstrate why a dispositional account of disgustingness is correct, and present a novel problem for warrant-based accounts of disgustingness (the ‘too many reasons’ problem). (shrink)

Recent work in philosophy and cognitive science shows that knowledge is the norm of our social practice of assertion, in the sense that an assertion should express knowledge. But why should an assertion express knowledge? I hypothesize that an assertion should express knowledge because the point of assertion is to transmit knowledge. I present evidence supporting this hypothesis.

ABSTRACTAlthough formative of modern value theory, the moral beauty view—which states that moral virtue is beautiful and moral vice is ugly—is now mostly neglected by philosophers. The two contemporary defences of the view mostly capitalize on its intuitive attractiveness, but to little avail: such considerations hardly convince sceptics of what is nowadays a rather unpopular view. Historically, the view was supported by thought experiments; and although these greatly increase its plausibility, they also raise empirical questions, which they leave unanswered. Here, (...) I offer a novel defence of the moral beauty view, capitalizing on empirical evidence and arguing via an inference to the best explanation. (shrink)

Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is meaning (...) mysteriously locked in a poem, meaning that cannot be represented in any way other than via the poem itself? If that were so it would have profound implications for poetry’s capacity to convey insight. We suggest reasons for thinking that the entailment does not hold. Throughout, we connect the traditional debate over paraphrase, which has largely been conducted within the fields of philosophy and literary theory, with recent empirically oriented thinking about the communicability of meaning, represented by work in pragmatics. We end with a suggestion about what is to count as belonging to meaning, and what as merely among the things that determine meaning. (shrink)

In philosophy of aesthetics, scholars commonly express a commitment to the premise that there is a distinctive type of judgment that can be meaningfully labeled “aesthetic”, and that these judgments are distinctively different from other types of judgments. We argue that, within an Aristotelian framework, there is no clear avenue for meaningfully differentiating “aesthetic” judgment from other types of judgment, and, as such, we aim to question the assumption that aesthetic judgment does in fact constitute a distinctive kind of judgment (...) that is in need of, or can be subject to, distinctive theorizing. We advance our argument primarily through demonstrating that leading contemporary accounts of aesthetic judgment do not successfully distinguish a type of judgment in that they do not tell us how making an aesthetic judgment differs substantially from judging that 2 + 3 = 5, that football is entertaining, or that today is Tuesday. (shrink)

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...) is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti-experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren’t clearly insoluble. (shrink)

In this introduction, I explain the notion of higher-order evidence and explore its bearing on aesthetic judgement. I start by illustrating how reflection on cases involving higher-order evidence engages with well-established concerns in aesthetics—specifically, how it might reveal tensions within and between widely recognized aesthetic ideals governing aesthetic judgement. Next, I show how attention to higher-order evidence in relation to aesthetic judgement might expose limitations or assumptions of theories in epistemology, where the nature and significance of higher-order evidence with respect (...) to belief is the focus of much recent attention. The aim is not to resolve the issues but to demonstrate the significance of higher-order evidence in aesthetics and, in doing so, encourage work on the topic in and across aesthetics and epistemology. (shrink)

Can fictions lie? According to a classic conception, works of fiction can never contain lies, since their content is not presented as true, nor is it meant to deceive us. But this classic view can be challenged. Sometimes fictions appear to make claims about the actual world, and these claims can be designed to convey falsehoods, historical misconceptions, and even pernicious stereotypes. Should we conclude that some fictional statements are lies? This article introduces two views that support a positive answer, (...) and two that support a negative one. After examining various ways in which fictions can deceive, it concludes in favour of the view that fictional statements can mislead, but never lie. (shrink)

In contemporary analytic philosophy of art, the intentionalist debate is about whether the author’s intention is relevant to the interpretation of her work. Various positions have been proposed, and in this paper I defend what I call hypothetical author-hypothetical intentionalism, the position that interpretation is based on the intention attributed to the author constructed from the work. There are three aims to achieve: (1) to give a general account of hypothetical author-hypothetical intentionalism; (2) to present a moderate version of hypothetical (...) author-hypothetical intentionalism; (3) to defend the moderate version of hypothetical author-hypothetical intentionalism against actual intentionalism and actual author-hypothetical intentionalism. Against the current trend that focuses on actual authors, I hope to show that the hypothetical author account is still a sustainable contender in the intentionalist debate. (shrink)

Mikkonen’s new book and his emphasis on understanding should be regarded as an important contribution to the contemporary debate on the cognitive value of literary narratives. As I shall argue, his notion of understanding can also help explain how literature is existentially valuable. In so doing, his account can support a radicalized contemporary neo-cognitivism according to which literature can affect us existentially and lead to a personal transformation.

It is common to distinguish between attributive and predicative goodness. There are good reasons to think that artistic value is a kind of attributive goodness. Surprisingly, however, much debate in philosophical aesthetics has proceeded as though artistic value is a kind of predicative goodness. As I shall argue, recognising that artistic value is attributive goodness has important consequences for a number of debates in aesthetics.

Do epistemic and aesthetic values ever conflict? The answer might appear to be no, given that background knowledge generally enhances aesthetic experience, and aesthetic experience in turn generates new knowledge. As Keats writes, ‘Beauty is truth, truth beauty’ (Keats, 1996). Contra this line of thought, I argue that epistemic and aesthetic values can conflict when we over-rely on aesthetically enhancing background beliefs. The true and the beautiful can pull in different directions, forcing us to choose between flavours of normativity.

Many pornographic works seem to count as works of fiction. This apparent fact has been thought to have important implications for ongoing controversies about whether some pornography carries problematic messages and so influences the attitudes (and perhaps even the behaviour) of its audience. In this paper, I explore the claim that pornographic works are fictional and the significance that this claim has for these issues, with a particular focus on pornographic films. Two related morals will emerge. First, we need to (...) pay attention not merely to whether entire pornographic works should be classified as fictional, but to the way that pornographic fictions (like fictional works more generally) have both fictional and non-fictional elements. Second, we have to understand the ways that pornographic works can blur the lines between fiction and non-fiction, misleading their audiences into taking their fictional elements to be revealing truths about non-fictional reality. In the case of pornographic films, we will examine how a pornographic fiction can be portrayed by people having sex on camera, and the ways in which this portrayal can mislead viewers about sex in the non-fictional world. (shrink)

Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according to the (...) truth or epistemic merit of these claims. (shrink)

Two main goals of the emerging field of neurocognitive poetics are the use of more natural and ecologically valid stimuli, tasks and contexts and providing methods and models allowing to quantify distinctive features of verbal materials used in such tasks and contexts and their effects on readers responses. A natural key element of poetic language, metaphor, still is understudied insofar as relatively little empirical research looked at literary or poetic metaphors. An exception is Katz et al.’s corpus of 204 literary (...) metaphors by authors such as Shakespeare or Dylan Thomas, for which various rating data are available. We reanalyzed their corpus using a combination of quantitative narrative analysis, latent semantic analysis, and machine learning in order to identify relevant features of the metaphors that influenced the ratings. The combined application of computational tools sheds light on surface and affective-semantic features that co-determine the reception of poetic metaphors and successfully predicted the period of origin, authorship and goodness ratings of the metaphors. The present results can be used for generating quantitative hypotheses or selecting and matching verbal stimuli in empirical studies of literature and neurocognitive poetics. (shrink)

Current debates in food aesthetics are moving away from a focus on whether food is art, and worries about the subjectivity and objectivity of taste, and towards questions about food's aesthetic properties, the cultural and social significance of food, our modes of aesthetic engagement with food, and issues involving cultural appropriation and the authenticity of dishes.

This thesis addresses philosophical problems concerning improper assertions. The first part considers the issue of defining lying: here, against a standard view, I argue that a lie need not intend to deceive the hearer. I define lying as an insincere assertion, and then resort to speech act theory to develop a detailed account of what an assertion is, and what can make it insincere. Even a sincere assertion, however, can be improper (e.g., it can be false, or unwarranted): in the (...) second part of the thesis, I consider these kinds of impropriety. An influential hypothesis maintains that proper assertions must meet a precise epistemic standard, and several philosophers have tried to identify this standard. After reviewing some difficulties for this approach, I provide an innovative solution to some known puzzles concerning the permissibility of false assertions. In my view, assertions purport to aim at truth, but they are not subject to a norm that requires speakers to assert a proposition only if it is true. (shrink)

This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.

In this paper I present an account of musical arousal that takes into account key demands of formalist philosophers such as Peter Kivy and Nick Zangwill. Formalists prioritise our understanding and appreciation of the music itself. As a result, they demand that any feelings we have in response to music must be directed at the music alone, without being distracted by non-musical associations. To accommodate these requirements I appeal to a mechanism of contagion which I synthesize with the expectation-based arousal (...) mechanism proposed by Leonard Meyer. This account connects musical expressivity and arousal in a way that formalists have rejected, but I argue that it provides the best explanation of our observations of listener responses while also focusing on the music itself. (shrink)

Central issues in philosophy of architecture include foundational matters regarding the nature of: (1) architecture as an artform, design medium, or other product or practice; (2) architectural objects—what sorts of things they are; how they differ from other sorts of objects; and how we define the range of such objects; (3) special architectural properties, like the standard trio of structural integrity (firmitas), beauty, and utility—or space, light, and form; and ways they might be special to architecture; (4) architectural types—how to (...) consider abstract groups of architectural objects and their instances; (5) meaning and other language-like phenomena in architecture and its objects; (6) formation of and warrant for our basic grasp, and considered judgment, of architectural objects; and (7) social and moral features of architectural objects and architectural practice. Yet other questions engage applied philosophical concerns regarding architecture, such as the character of architectural notation; intellectual property rights; and client-architect obligations. A far-reaching philosophy of architecture extends beyond even a broadly aesthetics-based assessment, to include considerations of ethics, social and political philosophy, and philosophical reflections on psychology and the behavioral sciences. The aesthetics of architecture, by itself, spans traditional issues mooted in philosophy of art, as well as aesthetics of the everyday, and environmental aesthetics. Such traditional issues include the nature of the work; the possibility of classes, kinds, or types in the domain; the character and roles of representation, intentionality, and expression; and the warranted foundations for criticism. The ethics of architecture also addresses traditional issues, including delineation of rights, responsibilities, the good, virtues, and justice in architectural milieus. Still other aspects of philosophy of architecture concern social and technological characteristics. (shrink)

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)

The utterance model is a popular basis for theories of interpretation in the contemporary analytic philosophy of literature. This model suggests that interpretation should be constrained by a work's identity‐relevant factors in its context of production because a work, like an utterance, acquires its identity and content in part from its relations with that context. From a descriptive point of view, I argue that the implied author account of interpretation best describes critical practice following the current positions based on the (...) utterance model. That is, people who interpret in accordance with these positions end up interpreting an implied author. (shrink)

Nick Zangwill (2004, 2007) appears to be acquiring the status of repudiator-in-chief of emotion in music. He is invoked in this role by such authors as Kraut (2007, p. 67), Bonds (2014, p. 5), Robinson (2014), Young (2014, pp. vii, 1, 3–4, 151), Davies (2017) and Kania (2017). His ‘manifesto’ paper (2004) was recently reprinted in Lamarque and Olsen (2018, pp. 574–582). This development is unfortunate, because Zangwill, for all his radical-sounding theses, actually argues against views that hardly anyone holds. (...) What is more, some of his arguments in favour of the obvious seem confused and defective. But as for his really radical thesis that ‘Music, in itself, has nothing to do with emotion’, he provides hardly any justification. What is more, contrary to what Zangwill believes, such justification is not to be found in Hanslick, who in fact sees emotional content as a relatively important element of music. (shrink)

Virtue-based moral cognitivism holds that at least some of the value of some art consists in conveying knowledge about the nature of virtue and vice. We explore here a challenge to this view, which extends the so-called situationist challenge to virtue ethics. Evidence from social psychology indicates that individuals’ behavior is often susceptible to trivial and normatively irrelevant situational influences. This evidence not only challenges approaches to ethics that emphasize the role of virtue but also undermines versions of moral cognitivism, (...) because the value of art cannot consist in teaching us about traits that do not exist. We thus recommend a new account of the cognitive value of art: art teaches how context and character interact to produce action. (shrink)

What is it for a picture to be more realistic, or more depictive, than another? Without committing to any thesis as to what depiction consists in, I show that degrees of depictiveness are grounded in a certain relation between two basic kinds of differences between pictures: configurational differences and content differences. A picture is thus more depictive just in case it is seen as having fewer nondepictive features, whereas a nondepictive feature is individuated through the susceptibility of the picture's configuration (...) to change without entailing any change in the picture's content. (shrink)

The genre of commentary is in its historical manifestation strongly associated with a style of reading governed by an attitude of textual deference, or what I call a principle of authority. The commentator did not suppose himself equal to the “authentic” author: he sought to learn from one of those who know. The “‘authentic’ author could neither be mistaken, nor contradict himself, nor develop his arguments poorly, nor disagree with any other authentic author”.The commentator’s attitude of textual deference seems from (...) a modern philosophical perspective, distinguished as it is by an intense critical stance, to embody a serious error. From a contemporary perspective, the good philosophical.. (shrink)

The Pythagorean tradition dominates the understanding of beauty up until the end of the 18th Century. According to this tradition, the experience of beauty is stimulated by certain relations perceived to be between an object/construct's elements. As such, the object of the experience of beauty is indeterminate: it has neither a determinate perceptual analogue (one cannot simply identify beauty as you can a straight line or a particular shape) nor a determinate concept (there are no necessary and sufficient conditions for (...) beauty at the semantic level). By the 13th Century in the West, the pleasure experienced in beauty is characterized as disinterested. Yet, on the basis that all cultural manifestations of the pythagorean theory of beauty recognize that judgments of beauty are genuine judgments, we would want to say that judgments of beauty are lawful. In addition, from ancient times, up until after Kant, philosophers of beauty within this tradition recognize two kinds of beauty: a universal, unchanging beauty coexisting with a relative, dynamic beauty. These two kinds of beauty and the tensions discussed above, are reconciled and dissolved respectively, according to the metaphysical/religious commitments of the particular author. As yet, however, these features of beauty have not been reconciled within a physicalist worldview. This is what I set out to do. (shrink)

Epistemic consequentialism has been challenged on the grounds that it is overly demanding. According to the Epistemic Junk Problem, this view implies that we are often required to believe junk propositions such as ‘the Great Bear Lake is the largest lake entirely in Canada’ and long disjunctions of things we already believe. According to the Numerosity Problem, this view implies that we are frequently required to have an enormous number of beliefs. This paper puts forward a novel version of epistemic (...) consequentialism which avoids these twin demandingness problems. The key is to recognise, first, that the final epistemic value of a true belief depends at least in part on the duration for which it is retained by the agent and, second, that our cognitive makeup places important constraints on which beliefs are retained and for how long. (shrink)

Drawing from field theory, Gestalt therapy conceives psychological suffering and psychotherapy as two intentional field phenomena, where unprocessed and chaotic experiences seek the opportunity to emerge and be assimilated through the contact between the patient and the therapist (i.e., the intentionality of contacting). This therapeutic approach is based on the therapist’s aesthetic experience of his/her embodied presence in the flow of the healing process because (1) the perception of beauty can provide the therapist with feedback on the assimilation of unprocessed (...) experiences; (2) the therapist’s attentional focus on intrinsic aesthetic diagnostic criteria can facilitate the modification of rigid psychopathological fields by supporting the openness to novel experiences. The aim of the present manuscript is to review recent evidence from psychophysiology, neuroaesthetic research, and neurocomputational models of cognition, such as the free energy principle (FEP), which support the notion of the therapeutic potential of aesthetic sensibility in Gestalt psychotherapy. Drawing from neuroimaging data, psychophysiology and recent neurocognitive accounts of aesthetic perception, we propose a novel interpretation of the sense of beauty as a self-generated reward motivating us to assimilate an ever-greater spectrum of sensory and affective states in our predictive representation of ourselves and the world and supporting the intentionality of contact. Expecting beauty, in the psychotherapeutic encounter, can help therapists tolerate uncertainty avoiding impulsive behaviours and to stay tuned to the process of change. (shrink)

Mathematicians routinely pass judgements on mathematical proofs. A proof might be elegant, cumbersome, beautiful, or awkward. Perhaps the highest praise is that a proof is right, that is, that the proof fits the theorem in an optimal way. It is also common to judge that one proof fits better than another, or that a proof does not fit a theorem at all. This paper attempts to clarify the notion of mathematical fit. We suggest six criteria that distinguish proofs as being (...) more or less fitting, and provide examples from several different mathematical fields. (shrink)

First critical survey devoted to the history of philosophical contributions to this topic. Brings to light neglected contributions prior to the second half of the 20th century including works in Danish, German, and French. Provides a division of issues and clarifies key ambiguities related to modality.

The extent to which the artist’s intentions are a relevant consideration in the interpretation of art has long been the subject of critical debate. First, I outline the various philosophical positions which have been established, specifically focusing on the debate between hypothetical intentionalism and moderate actual intentionalism. Then I look at some previous test cases which have, as yet, failed to demonstrate a decisive victory for either side. Finally, I offer two new test cases, one from the field of contemporary (...) visual art and the other from literary theory. I argue that the former serves to debunk hypothetical intentionalism and the latter lends support to the moderate actual intentionalist position. (shrink)

The role of personal background knowledge—in particular knowledge about the context of production of an artwork—has been only marginally taken into account in cognitive approaches to art. Addressing this issue is crucial to enhancing these approaches’ explanatory power and framing their collaboration with the humanities (Bullot and Reber 2012). This paper sketches a model of the experience of artworks based on the mechanisms of intention attribution, and shows how this model makes it possible to address the issue of personal background (...) knowledge empirically. I claim that the role of intention attribution in art experience has been incorrectly accounted in the literature because of an overly narrow definition of “intention.” I suggest that the observer can recover not only the artist’s abstract projects, but any kind of mental states that have played a causal role during the production of the work. In addition, I suggest that this recovery occurs in large part unconsciously and/or implicitly. I provide support for these claims by distinguishing three families of psychological mechanisms of intention attribution that are activated by artworks: one involved in the cognition of artifacts, one devoted to communication, and one involved in action perception. (shrink)

This book addresses how our revisionary practices account for relations between texts and how they are read. It offers an overarching philosophy of revision concerning works of fiction, fact, and faith, revealing unexpected insights about the philosophy of language, the metaphysics of fact and fiction, and the history and philosophy of science and religion. It will be of interest to a wide range of scholars and advanced students working in philosophy of language, metaphysics, philosophy of literature, literary theory and criticism, (...) and history and philosophy of science and religion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Dewey and the Question of Artful CommunicationScott R. StroudThe American pragmatist John Dewey included tantalizing sections of praise of the power of communication in his important work on community, experience, and their improvement, noting in 1925 that "of all aff airs, communication is the most wonderful" (1988a, LW 1:132) and in 1927 that communication plays an important part in the individual's attempt "to learn to become human" (1984, (...) LW 2:332).1 Some in the field of communication have sensed the important, but undeveloped, role that communication plays in his thought and have attempted to use Dewey's work in analyzing rhetorical practice, cultural studies, and the role of journalism in society.2 While such studies strive to clarify the value and process of communication in Dewey's thought, they fall short of explaining one seemingly simple thing that is implied in these passages—that communication can be experienced as aesthetic or artful. Nathan Crick identifies such a lacuna in the literature and notes that "beyond its utility as an argument against elite forms of academic criticism, the value of Dewey's aesthetic theory for communication studies remained underdeveloped" (2004, 303). Although he does an admirable job of tracing the relation of aesthetics to communication in Dewey's evolving thought, Crick comes no closer than others in answering the fundamental question of how communication can be artful or aesthetic—he merely argues for the general point that " communication, [End Page 153] whether it occurs in an oration, a conversation, or a television, is best understood as a form of art that has the potential to bring about aesthetic experience in its participants and open their eyes to the world of possibility embodied within each of us" (2004, 314). How exactly does this aesthetization of communication occur? Crick ends his article with the interesting claim that "in its aesthetic form communication becomes rhetorical. It turns communication into an art whose goal is a presentation that unites form and rhythm in a manner that can reach down into the experiences of the audience and literally transform them into something new" (2004, 317). How exactly does communication meet such standards? Does such a "high" art of communication as rhetoric fit everyday communication, the vast majority of human communicative practices?3 Although Crick's study is an important inquiry into the overall role of communication in Dewey's aesthetics, it still leaves open the fundamental question—How exactly can any given act of communication (beyond the eloquent and poetic oration) be rendered aesthetic or artful?This question was vitally important for Dewey, as he places artistic and aesthetic aspects of communicative practice at the very heart of his social and political philosophy. In describing the "Great Community," he announces that it will take place when two conditions hold: "The highest and most difficult kind of inquiry and a subtle, delicate, vivid and responsive art of communication must take possession of the physical machinery of transmission and circulation and breathe life into it.... Democracy will come into its own, for democracy is a name for a life of free and enriching communion.... It will have its consummation when free social inquiry is indissolubly wedded to the art of full and moving communication" (1984, LW 2:350). This is a vital passage for understanding Dewey's aims, as it clearly links a scientific method of thinking (his preferred method of "inquiry") with a form of communication that can be taken as an art.Yet scholars of communication systematically miss this part of the Deweyan equation. For instance, take Lary Belman's early study of Dewey's view of communication. He concludes by analyzing this same passage from Dewey on the two conditions of the Great Community and states, "The basic conditions for the creation of a Great Community... were, Dewey postulated, the presence of (a) vigorous, systematic, and continuous social inquiry to reveal the influential agencies at work in society and their mode of operation, and (b) widespread and rapid distribution of the findings of this inquiry in a form readily understood by those for whom these findings [End Page 154] have significance" (1977, 36–37). It is remarkable that the... (shrink)

Many have suggested that, unlike the so-called higher-senses, the lower-senses are not capable of providing aesthetic experience. Supporting this is, what I will call, the Transparency-Exteroceptivity Argument, which says that a necessary feature for aesthetic experience is lacking in the case of the lower-senses, namely transparency/exteroceptivity. I argue, contrary to the Transparency-Exteroceptivity Argument, that olfaction can provide transparent access to the properties of particular external objects. I argue that the Transparency-Exteroceptivity Argument relies on a misleading visuocentric and unimodal view of (...) the senses, is guilty of hasty generalization, and should be rejected. (shrink)

Attempts to justify the objectivity and universality of aesthetic judgment have traditionally rested on unsupported assumptions or mere assertion. This paper offers a fresh consideration of the problem of judgments of taste. It suggests that the problem of securing universal agreement is false and therefore insoluble since it imposes an inappropriate logical criterion on the extent of agreement, which is irrevocably empirical. The variability of judgments of taste actually forms a subject ripe for inquiry by sociologists, psychologists, historians and anthropologists, (...) as well as by aestheticians. Scenic beauty provides a vivid test for the variability of these judgments. (shrink)

The Pātañjalayogaśāstra concludes with a description of the pinnacle of yoga practice: a state of samādhi called dharmamegha, cloud of dharma. Yet despite the structural importance of dharmamegha in the soteriology of Pātañjala yoga, the śāstra itself does not say much about this term. Where we do find dharmamegha discussed, however, is in Buddhist yogācāra, and more broadly in early Mahāyāna soteriology, where it represents the apex of attainment and the superlative statehood of a bodhisattva. Given the relative paucity of (...) Brahmanical mentions of dharmamegha in the early common era, Patañjali appears to adopt this key metaphor from a Mahāyāna context—and to revise its primary meaning from fullness to emptiness. This article traces the early elaborations of dharmamegha in Buddhist texts, and, drawing on conceptual metaphor theory, lays out four arguments that each, in part, accounts for the stark contrast in how classical yoga and yogācāra employ the superlative metaphor of dharmamegha. (shrink)

During the past few decades, everyday aesthetics has established itself as a new branch of philosophical aesthetics alongside the more traditional philosophy of art. The Paths from Philosophy of Art to Everyday Aesthetics explores the intimate relations between these two branches of contemporary aesthetics. The essays collected in this volume discuss a wide range of topics from aesthetic intimacy to the nature of modernity and the essence of everydayness, which play important roles both in the philosophy of art and everyday (...) aesthetics. With these essays, the writers and editors of this volume wish to commemorate professor Arto Haapala on his 60th birthday. -/- This collection of articles is intended for scholars and students working in the fields of aesthetics, philosophy, and art studies. (shrink)

Ordinary Language Philosophy has largely fallen out of favour, and with it the belief in the primary importance of analyses of ordinary language for philosophical purposes. Still, in their various endeavours, philosophers not only from analytic but also from other backgrounds refer to the use and meaning of terms of interest in ordinary parlance. In doing so, they most commonly appeal to their own linguistic intuitions. Often, the appeal to individual intuitions is supplemented by reference to dictionaries. In recent times, (...) Internet search engine queries for expressions of interest have become quite popular. Apparently, philosophers attempt to surpass the limits of their own linguistic intuitions by appealing to experts or to factual uses of language. I argue that this attempt is commendable but that its execution is wanting. Instead of appealing to dictionaries or Internet queries, philosophers should employ computer-based linguistic corpora in order to confirm or falsify hypotheses about the factual use of language. This approach also has some advantages over methods employed by experimental philosophers. If the importance of ordinary language is stressed, the use of linguistic corpora is hardly avoidable. (shrink)

La categoría ‘arte conceptual’ se aplica a una gran cantidad de obras de arte contemporáneo. El artista Sol LeWitt introdujo el término en la jerga del arte al describir obras de arte donde “la idea o el concepto es el aspecto más importante de la obra” (LeWitt 1967: 79, traducción mía). Inicialmente, el término se utilizó para referirse a obras producidas entre finales de los años sesenta y principios de los setenta por artistas como Sol LeWitt, Robert Barry, Lawrence Weiner, (...) On Kawara, Joseph Kosuth, John Baldessari, el grupo Art & Language y otros (véase Lippard 1973). En España fueron relevantes el Grup de Treball, Zaj o Esther Ferrer entre otros. Más tarde se hizo evidente no solo que obras como Fuente (1917) de Marcel Duchamp – un urinario de porcelana, que fue firmado “R. Mutt” y presentado para una exposición de la Sociedad de Artistas Independientes – tenían mucho en común con aquellas producidas a finales de la década de 1960 y principios de la de 1970, sino también que obras de arte conceptual continuaron siendo producidas a lo largo de la década de 1970 y las décadas siguientes, hasta el punto de que podría argumentarse que gran parte del arte contemporáneo es, en cierta medida, conceptual. -/- Es característico de los primeros autores conceptuales el uso del lenguaje natural en obras que son en principio visuales o plásticas, como las frases de Weiner, las definiciones de Kosuth o los ensayos de Art&Language. Se trata de un interés por el significado y el lenguaje heredado de la semiótica y la filosofía analítica de la época. También señala el énfasis (a menudo exclusivo) de todas las obras de arte conceptual en el elemento conceptual, como ocurre en los dibujos y pinturas murales de LeWitt, donde el artista produjo las instrucciones para su ejecución, luego las realizó en colaboración con otros, o transfirió completamente a otros esta tarea. Otra característica de las primeras obras de arte conceptual es que los artistas no manipularon ningún material para producir un objeto (como en Fuente de Duchamp) o usaron materiales excéntricos como el lenguaje natural, su propio cuerpo -como en I am the locus (# 1) (1975) de Adrian Piper, una performance en la que la artista se pegó un bigote en la cara, se puso una peluca Afro y anteojos redondos con montura de alambre y caminó en las calles actuando como un hombre-, o el chocolate con el que Anya Gallaccio revistió las paredes de un viejo edificio agrícola en Stroke (2004), dejando que el público las tocara y que el chocolate se pudriese. -/- Debido a sus características inusuales, el arte conceptual plantea muchas preguntas filosóficas: sobre la definición de arte, sobre la ontología y los medios de las obras de arte y sobre nuestra experiencia apreciativa de ellas. En lo que sigue, presentaré brevemente cada uno de estos temas. (shrink)

A comprehensive account of human kindness.

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...

We aim to develop a take on the meaning of works of art that builds on Dennett’s view on the nature of intentionality, namely, that the intentionality exhibited by mental phenomena is not original, but derived. Regarding the meaning of works of art, theories that hold that the meaning is determined by the intentions of the author when creating the work are considered intentionalist. Adopting the view of derived intentionality implies that it is no longer possible to maintain that the (...) semantic content of a work of art is closely linked to the creative act that gave rise to it; accordingly, intentionalist theories should be, broadly speaking, abandoned. However, we claim that one aspect of intentionalist theories is accurate and, moreover, compatible with the perspective on intentionality we adopt: The fact that part of the meaning of a work of art is given by the interpretations that arise when it is assumed that the work was produced by an agent with the purpose of transmitting something. We call this interpretative strategy the work-of-art stance and argue that it should be understood as a subtype of the intentional stance. According to our proposal, this interpretive strategy is part of a view that tries to explain the meaning of works of art as partially indeterminate, relative to a history (and not to a foundational origin) and dependent on interpretive attribution. En este artículo elaboramos una propuesta sobre el significado de las obras de arte que se apoya en la perspectiva de Dennett acerca de la naturaleza de la intencionalidad de los fenómenos mentales. De acuerdo a ella, la intencionalidad que estos exhiben no es original, sino derivada. Adoptar la perspectiva de la intencionalidad derivada implica que ya no será posible sostener que el significado de una obra de arte esté vinculado al acto creativo que le dio origen o que esté determinado por las intenciones que tuvo su autor al crearlas, como han sostenido las teorías intencionalistas. Ahora bien, creemos que hay un aspecto de estas que no es incompatible con la perspectiva de intencionalidad derivada. Se trata del hecho de que parte del significado de la obra de arte está dado por las interpretaciones que surgen sólo cuando se asume que la misma fue producida por un agente con el propósito de transmitir algo. Llamaremos a esta estrategia interpretativa actitud de la obra de arte y defenderemos que debe ser entendida como un subtipo de la actitud intencional. Esta estrategia interpretativa forma parte de una propuesta que intenta explicar el significado de las obras de arte como siendo parcialmente indeterminado, relativo a una historia y dependiente de la atribución interpretativa. (shrink)