My goal in this article is to provide support for the claim that moral flaws can be detrimental to an artwork's aesthetic value. I argue that moral flaws can become aesthetic flaws when they defeat the operation of good-making aesthetic properties. I do not defend a new theory of aesthetic properties or aesthetic value; instead, I attempt to show that on both the response-dependence and the supervenience account of aesthetic properties, moral flaws with an artwork are relevant to what aesthetic (...) properties obtain. I provide a description of the main features of both theories of aesthetic properties, and then explain how moral flaws can become aesthetic flaws on either account. I address several objections to moralism about art including the "moralistic fallacy.". (shrink)

I defend a form of generalism in ethics and aesthetics. Generalism about a domain D is the view that there are principles that play an explanatory role in the metaphysics of D and can be used in reasoning when thinking about D. I argue that in both aesthetics and ethics, there are generic generalizations that are principles. I do this by (i) explaining the nature of a particularly important kind of generic, (ii) argue that generics of this kind play a (...) explanatory role, and (iii) argue that we licitly use these truths in reasoning about ethics and aesthetics. (shrink)

This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...) has rarely examined in depth the ontological structure of art categories, how they are generated and maintained, and how they function. This dissertation fills this gap. The proposal of this dissertation can be summarized as follows. Categories (especially genres) should be analyzed as clusters of rules that regulate the responses and behaviors of agents in the artworld. The visual mundaneness is a critical reason to consider Duchamp's "Comb" (1916) provocative, given the existence of the readymade as a set of rules that justifies such reasoning. The critical and appreciative practice of which categorization is a part is a social practice of making, declaring, proposing, reforming, and developing rules of appreciation. How we appreciate artworks, and how criticism guides our appreciation, is sensitive to how we categorize artworks. How we categorize artworks is sensitive to what categories have been set up in our community and which categories are active regarding each artwork. (shrink)

The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...) disinterested pleasure. In the second part, disinterested pleasure is investigated in the light of contemporary debates on beauty. The third part is dedicated to the relation of theories of disinterested pleasure to the meta-aesthetical debate between realism and anti-realism. The volume clarifies the meaning, role, and implications of one of the most influential conceptions in traditional as well as contemporary approaches to beauty. (shrink)

This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.

Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to various realization relations avoids these puzzles and (...) allows for a richer description of how the aesthetic depends upon the non-aesthetic. (shrink)

It is widely agreed that an artwork having certain non-aesthetic properties explains its having a certain aesthetic property. One interesting feature of such an explanation is its selectivity—it cites only some of the non-aesthetic properties on which the presence of the aesthetic property depends. Hence a question arises as to what distinguishes the selected non-aesthetic properties from the unselected ones. I answer this question by proposing a selection principle modeled on Laura Franklin-Hall’s selection principle for causal explanation, according to which (...) an explanation selects a package of factors that maximizes the ratio of delivery to cost. (shrink)

This thesis argues that the aesthetic character of some conceptual works of art can be determined by the possession of essential aesthetic properties. By discussing Peter Lamarque’s account of individual aesthetic essentialism one can suggest that conceptual works can be aesthetically investigated. Chapter I introduces the concept of the aesthetic and discusses Frank Sibley’s account of aesthetic concepts. Chapter II analyses in detail Sibley’s two fold relational character of aesthetic properties. Chapter III introduces Lamarque’s concept of aesthetic properties and it (...) also insists on a distinction between artistic and aesthetic properties. Chapter IV introduces a general account of essentialism and then discusses Lamarque’s new object theory. Chapter V investigates Lamarque’s weaker version of individual aesthetic essentialism and analyses the distinction between essential and inessential aesthetic properties. Finally, Chapter VI considers the aesthetics of conceptual art and argues that some conceptual pieces have essential aesthetic properties. The philosophical discussions are supported by appeal to many different works of art, from traditional works to contemporary works. I conclude that all conceptual works have aesthetic properties but mostly there are inessential properties. My suggestion at the end of this thesis is more radical. A close analysis identified essential aesthetic properties in some conceptual works of art and this contribute to the aesthetic character and value of these works. (shrink)