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  1. Varieties of Aesthetic Autonomy.Irene Martínez Marín - 2024 - Philosophy Compass 19 (12):e70012.
    The concept of autonomy is central to many debates in aesthetics. However, exactly what it means to be autonomous in our aesthetic engagements is somewhat unclear in the philosophical literature. The normative significance of autonomy is also unclear and hotly debated. In this essay, I propose a method for clarifying this elusive concept by distinguishing three distinct senses or varieties of aesthetic autonomy: experiential autonomy, competence-based autonomy, and personal autonomy. On this taxonomy autonomy is a context-sensitive concept and autonomy applies (...)
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  • Appreciating Taylor’s Versions: An Aesthetic Love Story.Irene Martínez Marín - 2025 - In Brandon Polite, Taylor Swift and the Philosophy of Re-recording: The Art of Taylor's Versions. Bloomsbury.
    Internal coherence is of great importance for how we think about appreciating objects of aesthetic worth. A disagreement between what we judge to be worthy and what we affectively favor can prevent us from properly grasping its value. However, it is also assumed in the aesthetic domain that our taste changes over time, jeopardising such coherence constraint. These changes can lead to a mismatch between new aesthetic judgments and old aesthetic preferences. This chapter explores a number of issues that emerge (...)
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  • Aesthetic selves as objects of interpersonal understanding.Nicholas Wiltsher - 2024 - Philosophical Explorations 27 (2).
    This paper raises puzzles concerning our grasp of others’ aesthetic selves. I first articulate a conception of an aesthetic self, understood as an autonomously adopted orientation to objects of aesthetic value, encompassing the embrace of aesthetic reasons and the qualitative appreciative states that follow. This articulation is motivated by the commonplace observation that people’s aesthetic identities are important to them. Given this importance, we might think it salutary to grasp other people’s aesthetic selves, under the general auspices of ‘interpersonal understanding’. (...)
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  • Band Merch, Silencing and Aesthetic Community.Felix Bräuer - forthcoming - Estetika: The European Journal of Aesthetics.
    This paper addresses a question that has sparked heated debate while mostly flying under the philosophical radar: Should people stop wearing merch of bands they don’t listen to? I respond affirmatively. People should stop wearing merch of bands they don’t listen to because (i) doing so can silence people who wear band merch to communicate their taste in music and (ii) this silencing threatens the valuable role that wearing band merch plays in the aesthetic lives of people who share a (...)
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  • Judging for ourselves.Justin Khoo - forthcoming - Philosophy and Phenomenological Research.
    Suppose I hear from a trusted friend that The Shining is scary. Believing them, I decide not to watch the film. Later, we're talking about the movie and I say, “The Shining is scary!” My assertion here is misleading and inappropriate—I misrepresent myself as having seen the film and judged whether it is scary. But why is this? In this paper, I clarify the scope of the observation, discuss existing explanations of it, and argue that they are all lacking. I (...)
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  • In Defence of the Acquaintance Principle in Aesthetics.Andrea Sauchelli - forthcoming - Episteme:1-19.
    Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some of (...)
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