It is widely agreed upon that aesthetic properties, such as grace, balance, and elegance, are perceived. I argue that aesthetic properties are experientially attributed to some non‐perceptible objects. For example, a mathematical proof can be experienced as elegant. In order to give a unified explanation of the experiential attribution of aesthetic properties to both perceptible and non‐perceptible objects, one has to reject the idea that aesthetic properties are perceived. I propose an alternative view: the affective account. I argue that the (...) standard case of experiential aesthetic property attribution is affective experience. (shrink)

I examine the prospects for an ideal observer theory in aesthetics modelled on Roderick Firth’s 1952 paper ‘Ethical Absolutism and the Ideal Observer’. The first generation of philosophers to consider an Ideal Aesthetic Observer found fault with Firth’s omniscience condition; more recent writers have criticized the affective component of an IAO’s response. In the end, most discussants reject the possibility of an IAO theory. Though the IAO theory gets the model wrong for answering meta‐aesthetic questions, revisiting the debate prompts useful (...) reconsideration of the role of the critic and the nature of aesthetic appreciation. (shrink)

RÉSUMÉ: J’étudie la conception selon laquelle l’identité d’une œuvre d’art est déterminée par ses propriétés esthétiques; et je la compare avec la conception selon laquelle l’identité de l’œuvre d’art est déterminée par les origines de sa composition. Je soutiens que les deux théories présentent des qualités et des défauts, et que les qualités de l’une sont les défauts de l’autre. Cela nous révèle le genre de théorie dont nous avons besoin.

Is nanotechnology-based human enhancement morally permissible? One reason to question such enhancement stems from a concern for preserving our species. It is harder than one might think, however, to explain what could be wrong with altering our own species. One possibility is to turn to the environmental ethics literature. Perhaps some of the arguments for preserving other species can be applied against nanotechnology-based human enhancements that alter human nature. This paper critically examines the case for using two of the strongest (...) arguments in the environmental ethics literature to show that nanotechnology-based human enhancements are impermissible: 1) Our species, like many other naturally occurring species, has aesthetic value. So, nanotechnology-based human enhancements that alter our species should be prohibited. 2) Our species plays valuable ecological roles. Nanotechnology-based human enhancements that alter our species are likely to interfere with our species playing our ecologically valuable roles. So, such enhancements should be prohibited. Neither argument, ultimately, proves conclusive. The paper concludes, however, that considerations underlying both arguments may show us that some nanotechnology-based human enhancements are impermissible. (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)

My aim in this paper is to propose a new categorization of a specific set of aesthetic concepts, using Sibley’s theory of the aesthetic concepts as a starting point. I discuss the status of aesthetic concepts connected with pleasure and the role of aesthetic pleasure. I examine Sibley’s theory and the importance of its results for the conceptual art. Then, I compare Sibley’s theory and Kant’s theory specifically on the theme of judgment, universal agreement and pleasure. I finally propose to (...) look at these theories as complementary (they deal with the same problems but Sibley takes an objective position, since his main focus is the object and its properties, while in Kant’s theory the focus is on the subject) since they achieve important results for the theory of aesthetic concepts, both from the perspective of the subject and from the perspective of the object. (shrink)

Philosophical discussions of climate change have mainly conceived of it as a moral or ethical problem, but climate change also raises new challenges for aesthetics. In this paper I show that, in particular, climate change (1) raises difficult questions about the status of aesthetic judgments about the future, or ‘future aesthetics’; and (2) puts into relief some challenging issues at the intersection of aesthetics and ethics. I maintain that we can rely on aesthetic predictions to enable us to grasp, in (...) some sense, aesthetic value in environments affected by climate change and, through a discussion of three hypothetical cases, I argue that, although moral considerations will press on aesthetic judgments, aesthetic value will not necessarily be trumped by them. (shrink)

Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction (...) with an undifferentiated category of taste, comes to be set apart from gustatory taste on account of its normativity and aspirations to objectivity. The paradox of taste, as found in Hume and Kant, is examined, and shown to be highly relevant to contemporary metaphysical debate within aesthetics. Specifically, this paper argues that both Realists and Anti-Realists rely more heavily than assumed on the idea of taste. (shrink)

Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...) the structure of being garish and being cacophonous. Finally, an explanation is given of how the issue of the structure of aesthetic properties bears on their reality and (presumed) response-dependence. (shrink)