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)

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.

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)

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.

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)

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)

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 this paper I examine how ethics can help us solve the morally relevant problems that arise in crisis situations by distinguishing theoretical from extra-theoretical approach to moral phenomena. I begin by asking how a crisis can be the topic of philosophical examination, subsequently narrowing down the question to ethics. From the perspective of this philosophical discipline, a crisis could be approached in two ways: by applying general theories, such as Kant’s deontology or utilitarianism, to different crisis situations, or by (...) constructing thought experiments. I illustrate both approaches and then, by contrasting heuristic significance of ethical thought experiments with their argumentative function, I introduce the thesis that these experiments reveal truth about morality independently of any particular theory or viewpoint. I also defend the oft-disputed view that fictional scenarios, seen as developed thought experiments, can expand our ‘moral knowledge’, and illustrate that thesis by examining a fictional narrative that deals with a crisis – the explosion of a reactor in the ‘Chernobyl’ nuclear power plant. (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)

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)

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)

In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.

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)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. (...) Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

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)

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)

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)

The paper aims at reevaluating a conception of the aesthetic that was developed by Kant and Hegel but that has been widely neglected due to the fact that their positions in aesthetics have been wrongly considered to be antagonistic to one another. The conception states that the aesthetic is a practice of reflecting on other human practices. Kant was the first to articulate this conception, but nevertheless falls short of giving a satisfying account of it, as he doesn’t succeed in (...) explaining its objective aspect. I claim that Hegel resolves this problem by understanding works of art as objects that thermalize essential orientations of historical-cultural practices. But his explanation fails to grasp the specificity of art as a reflective practice. However, Hegel’s position gives us a hint for how to deal with this problem: Reflection has to be understood in a practical, and not in a cognitive sense. (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)

This paper examines gradients of attention in relation to aesthetic appreciation. My main claim is that we should leave open the possibility that aesthetic response might be triggered by stimulations taking place far from the centre of one’s focused attention. In support of this claim I first discuss the notion of ‘periphery of attention’ and the challenges that it poses to contemporary psychological theories of aesthetics. I provide four criteria for differentiating between several types of attentional processes and then proceed (...) to single out the characteristics of non-focal types of attention processes with varying intensity such as pre-attentive processing, the mere exposure effect and psychic overtones. Finally, I reassess the periphery of attention in the light of its relation to aesthetic appreciation. I hold that given certain constraints such as repeated exposure, perceptual learning, encoding in long-term memory, and possibility of retrieval, subdued, inconspicuous forms of stimulation can elicit aesthetic responses. (shrink)

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)

Attempting art: an essay on intention-dependenceIt is a truism among philosophers that art is intention-dependent—that is to say, art-making is an activity that depends in some way on the maker's intentions. Not much thought has been given to just what this entails, however. For instance, most philosophers of art assume that intention-dependence entails concept-dependence—i.e. possessing a concept of art is necessary for art-making, so that what prospective artists must intend is to make art. And yet, a mounting body of anthropological (...) and art-historical evidence and philosophical argument suggests that not only is such a criterion unsatisfied by most of the art-historical canon, but it also rests on a false premise: concepts of 'art' are not shared between cultures, nor even in the same culture across time. My dissertation aims to rectify this error by first exploring what our commitment to art's intention-dependence actually entails, and then showing that, properly understood, intention-dependence sets a number of important constraints on theories of art with respect to explanatory desiderata such as the success- and failure-conditions of art-attempts, the cross-cultural identification of art, and the reference of 'art' and art-kind terms. I begin by situating art's intention-dependence in the philosophical literature on intentional action, arguing that, properly conceived, intention-dependence is a weak criterion which can be satisfied either directly or indirectly. It therefore does not necessarily entail concept-dependence. I then use this distinction to motivate a new treatment of the success- and failure-conditions for art-attempts, arguing that the extant model's emphasis on compliance with 'the manner intended' is far too restrictive to capture actual artistic practices. I go on to show that Ruth Millikan's model of linguistic conventions supplies an independently plausible explanation of art's concept-independent origins in terms of the development of a system of indirectly intention-dependent conventions called an 'artworld'. I argue that this account of artworld development supplies us with the tools we need to distinguish art-kinds from other artifactual kinds. Finally, I turn my attention to methodological issues, arguing that even though 'art' is a social kind with its roots in arbitrary and historically-contingent networks of conventions, the philosophy of art is not merely an exercise in bare conceptual analysis. In fact, there is now a great deal of evidence to show that the ways we think about 'art' are inconsistent, incomplete, imperialistic, and largely unprincipled. Yet I argue that this does not mean that the artworld data have no bearing on theories of art. Instead, I argue that our best reflective understanding of our artworld practices sets the constraints on the reference of 'art' and art-kind terms. I argue that we have no privileged epistemic access to the ontology of social kinds; our only privilege lies in our ability to determine the proper subject of our inquiries. (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.

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)

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.

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)

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)

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)

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)

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)

<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) poetry, and both German romanticism and Heidegger owe a deep debt to Plato. The study goes on to defend the view that Heidegger was influenced by romanticism. The author’s project is thus both historical, showing the specificity of the romantic and Heideggerean works, and systematic, defending aspects of their alternative mode of thinking while also pointing to their weaknesses. </P>. (shrink)

A content theory of art would identify an artwork with the meaningful or representational content of some concrete artistic vehicle, such as the intentional, expressive, stylistic, and subject matter-related content embodied in, or resulting from, acts of intentional artistic expression by artists. Perhaps surprisingly, the resultant view that an artwork is nothing but content seems to have been without theoretical defenders until very recently, leaving a significant theoretical gap in the literature. I present some basic arguments in defence of such (...) a view, including the following. Content views of linguistic communication are ubiquitous, so why should they not be applicable in artistic cases as well? Also, propositional accounts of language involve two kinds of content (the proposition expressed by a sentence, plus the worldly state of affairs it represents), both of which kinds can be used in explaining artworks. In addition, the differing modal properties of artworks and concrete artefacts can be used to show that artworks could not be, or include, such physical artefacts. (shrink)

Lerdahl and Jackendoff's Generative Theory of Tonal Music (GTTM) is an important contribution to cognitive science. Jackendoff claims it is a computationalist theory and that the mental representations it postulates are unconscious. Thus GTTM looks to be a kind of cognitive science remote from the folk-psychological. I argue that this picture of GTTM is mistaken: GTTM is at least as much music analysis as cognitive science. Jackendoff's metatheory fails to explain how a listener can tell that a structural description corresponds (...) to the way she hears, how analytically minded listeners can communicate about their hearing, and how a reader of their book can comprehend it. I suggest an alternative construal, on which GTTM's analytical vocabulary functions as a public language and its mental representations are perceptual beliefs. Interesting philosophical problems ensue about knowledge of musical structure and knowledge about what structures one hears. There is a paradox: one wants an analysis to be true to a hearing, yet to be illuminating. Though analysis and hearing coincide in content at an abstract level, they do not coincide in conceptual content. What sort of knowledge then underlies the inference from perceptual to music-analytical representation? I argue that such knowledge is a priori. (shrink)

According to Aesthetic Empiricism, only the features of artworks accessible by sensory perception can be aesthetically relevant. In other words, aesthetic properties supervene on perceptual properties. Although commonly accepted in early analytic aesthetics, Aesthetic Empiricism has been the target of a number of thought experiments popularized by Gombrich, Walton, and Levinson, purporting to show that perceptually indiscernible artworks may differ aesthetically. In particular, this literature exploits three kinds of differences among perceptually indiscernible artworks that may account for aesthetic differences: relative (...) to categories of art, historical provenance, or means of production. Like in all philosophical thought experiments, the reliability of the elicited intuitions remains an empirical question that we address here with the methods of experimental philosophy. Throughout three studies, we show that most people do not believe that non-perceptual properties can modulate our evaluation of an artwork’s beauty. However, intuitions were much more divided when considering expressive aesthetic properties (such as intensity), and even clearly reversed when considering artistic properties (such as originality or technical achievement). Overall, our studies show that the central intuitions elicited by the classical indiscernibility arguments strongly depend on the class of manipulated properties (expressive aesthetic properties vs formal aesthetic properties; aesthetic properties vs artistic properties) and are thus more suited to refute artistic empiricism than aesthetic empiricism, narrowly construed. (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)

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)

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)

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)

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.

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)

The current form and transformation of artistic practice in the 20th and 21st century caused some estrangement of the recipient and the art. The current discourse is therefore dominated by some distrust in defining the criteria of contemporary art, or even the dilemma of whether or not art has to be defined at all, mostly under the influence of Morris Weitz. Arthur Danto very aptly reminds that there is currently no way to distinguish art from objects that are not art, (...) even though many theorists have tried to come up with a solution. The need to distinguish different objects in order to carry out the theoretical examination or to have a functional defining apparatus for criticism, or the exhibition practice is not necessary only on the semantic level. The aim of the submitted paper is therefore to offer a brief cross-section of theories, which, over the past sixty years, dealt with the problem of the definition of art and appreciate/re-think the need for a functional definition of art as the determinant of adequate aesthetic theory. (shrink)

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)

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)

Recent philosophical analyses of the epistemic dimension of images in the sciences show a certain trend in acknowledging potential roles of these images beyond their merely decorative or pedagogical functions. We argue, however, that this new debate has yet paid little attention to a special type of pictures, we call ‘visual metaphor’, and its versatile heuristic potential in organizing data, supporting communication, and guiding research, modeling, and theory formation. Based on a case study of Conrad Hal Waddington’s epigenetic landscape images (...) in biology, we develop a descriptive framework applicable to heuristic roles of various visual metaphors in the sciences. (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)

In analytic aesthetics, a popular ‘cognitivist’ line of thought maintains that literary works of fictional kind may ‘imply’ or ‘suggest’ truths. Nevertheless, so-called anti-cognitivists have considered the concepts of implication and suggestion both problematic. For instance, cognitivists’s use of the word ‘implication’ seems to differ from all philosophical conceptions of implication, and ‘suggestion’ is generally left unanalysed in their theories. This paper discusses the role, kinds and conception of implication or suggestion in literature, issues which have received little attention in (...) contemporary literary aesthetics. In the first part, the author shall examine classic views on implication in literature and introduce objections to the views. In the latter part, in turn, the author shall propose a definition of the ‘literary suggestion’ and discuss issues related to its interpretation. (shrink)