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)

Value empiricists in aesthetics claim that we can explain the value of artworks by appeal to the value of the experiences they afford. I raise the question of the value of those experiences. I argue that while there are many values that such experiences might have, none is adequate to explaining the value of the works that afford the experiences. I then turn to defending the alternative to value empiricism, which I dub the object theory . I argue that if (...) there is some problem attending the object theory, commensurate with the problems attending empiricism, no one seems to have any idea what it is. I close by urging that the object theory be granted a fresh hearing. (shrink)

This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.

While the meta-ethical error theory has been of philosophical interest for some time now, only recently a debate has emerged about the question what is to be done if the error theory turns out to be true. This paper argues for a novel answer to this question, namely revolutionary expressivism: if the error theory is true, we should become expressivists. Additionally, the paper explores certain important but largely ignored methodological issues that arise for reforming definitions generally and with a vengeance (...) in the context of a radical error theory about all practical normative judgements, and suggests how these issues can be resolved. (shrink)

This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of intrinsic value for different reasons, (...) there are different kinds of aesthetic experiences . By means of certain conceptual links, it is possible to extend this account to other aesthetic entities thus enabling the formulation of a general theory of the aesthetic in non-aesthetic terms. In particular, aesthetic values are identical with subjective dispositions to elicit aesthetic experiences under normal conditions. Accordingly, I endorse anti-realism about aesthetic values: their existence, nature and exemplification are mind-dependent, while their ascriptions to objects have genuine truth-values. I back up this account by arguing against the alternative positions that either take aesthetic values to be objective or deny the truth-aptness of their attributions. Furthermore, I put forward a relativist variant of anti-realism according to which ascriptions of different aesthetic values to a particular object are all correct, given that the aesthetic experiences involved are made under normal conditions and concern the same aesthetically nonevaluative features of that object. For there is no specifically aesthetic norm by means of which one of the faultless aesthetic experiences can be picked out as the only appropriate one. That aesthetic values nevertheless show a normative dimension is ensured by their conformity to a general account of values as capacities to satisfy, or dissatisfy, rational desires. (shrink)

This article critically examines current ways of justifying a place for the arts in general education and develops an alternative position. First, justifications relying on the positive non-artistic outcomes of art education are represented and problems exposed. Next, I discuss and criticise the position of John White, who takes the arts to promote self-knowledge, ethical contemplation and social cohesion. Then I develop a new account of artistic value based on the concept of fulfilment.

Vor etwa einem Jahrhundert entwickelte sich im deutschsprachigen Raum imRahmen einer allgemeinen Charakterisierung unserer ästhetischen Erfahrungvon Kunst eine umfassende Debatte über die Natur und die Möglichkeit vonGefühlen über fiktionale Charaktere und Situationen. Die damalige Debatteweist große Ähnlichkeit zur heutigen analytischen Debatte über das Paradoxonder Fiktion auf. Trotz des unterschiedlichen jeweiligen historischen Kontextesfindet sich in der analytischen Debatte und in der Philosophie zu Beginn des20. Jahrhunderts fast der gleiche Lösungsansatz. Gefühle über Fiktionen seienQuasi-Gefühle, d.h. ein gefühlsartiges Phänomen mit einer Realität sui (...) generis ,dem im Unterschied zu den wirklichen Gefühlen kein Urteil über die Existenzdes Objektes zugrunde liegt und dem die Verbindung zur Motivation fehlt. Zieldieses Aufsatzes ist es, eine Untersuchung der These der Quasi-Gefühle An-fang des 20. Jahrhunderts zu unternehmen sowie die Analogien zur heutigenDebatte zu zeigen. Der Aufsatz baut sich um drei thematische Achsen herumauf. Zunächst wird eine historische Darstellung der These der Gefühle über Fiktionen bei Groos, Lipps, Lange, Geiger und Külpe unternommen. Diese bil-det den Rahmen für die Debatte über die Quasi-Gefühle in der Grazer Schule.Anschließend wird die Aufmerksamkeit auf die Diskussion über Quasi-Gefühle bei Meinong, Witasek, Saxinger und Schwarz gerichtet. Zuletzt wer-den die Berührungspunkte zur heutigen analytischen Debatte im Ausgang vonsystematischen Fragen aufgezeigt. (shrink)

Emotions normally include elements of feeling, motivation, and also intentionality; but the argument of this essay is that there can be emotion without feeling, emotion without corresponding motivation, and emotion without an intentional relation to an object such that the emotion is (among other things) a belief about or construal of it. Many recent writers have claimed that some form of intentionality is essential to emotion, and then have created lines of defence for this thesis. Thus, what look like troublesome (...) cases of emotions can be regarded as having a global intentionality or as being “mood-like”. Alternatively surges of non-intentional joy or ecstasy can be regarded as merely feelings rather than as emotions, and what people experience in response to absolute music can be treated similarly. A clear view of how we normally talk about moods, emotions, and feelings however undermines these defences; and in particular we can understand the role of emotions in relation to absolute music once we become clear about the way in which musical content stands in for intentional objects. (shrink)

The article presents Hanslick’s aesthetic formalism as the starting point of the contemporary aesthetics of music. His book, written in the 19th century, is considered contemporary because it still proves to be influential and fruitful in the contemporary theoretical circles, especially in the modern analytic aesthetics of music, where it is widely cited and discussed. The article positions Hanslick’s book in relation to his nearest predecessors Kant and Herbart, and to the neighbouring area where the formalistic view appeared, namely in (...) Fidler’s visual formalism in fine arts. It is shown that by being the first piece of writing to attempt to systematically and comprehensively determine the essence and the content of music, and the criteria for evaluation of musical worth, Hanslick’s book sets the foundation for a rigorous examination of the aesthetics of music, and also breaks off with the widely ingrained preconceptions of music, which were in themselves an obstacle to establishing the aesthetics of music as a scientific discipline. (shrink)

The article aims at discerning and explaining the significance and role of emotive notions in understanding music, in performing it or listening to it with the appropriate understanding. The suggestion focuses on two notions: that of making sense of various musical features and their interconnections, and that of helping manage the enormous information one needs to process in keeping on the trail of the music in real time.

Some common conceptions of Buddhist meditative practice emphasize the elimination of emotion and desire in the interest of attaining tranquility and spiritual perfection. But to place too strong an emphasis on this is to miss an important social element emphasized by major figures in the Mahāyāna and Chan/Zen Buddhist traditions who are critical of these quietistic elements and who stress instead an understanding of an enlightenment that emphasizes enriched sociality and flexible readiness to engage, and not avoid, life's fluctuations in (...) fortune and essential impermanence. It is argued here that these criticisms of quietism are bolstered by recent advances in the philosophy and psychology of the emotions that highlight the role of emotions in framing the context of decision making—that is, in sorting out the relevant from the irrelevant, identifying salience, and directing decisions when uncertainty prevents definitive judgment. This research makes clearer why self-liberation is fundamentally a matter of liberation from judgmental habit and inflexibility, and lends support to a view of enlightenment that emphasizes compassionate engagement with others. It also provides for a more plausible picture of the cognitive transformation involved in liberation and sheds light on the rationale for certain traditional Chan and Zen teaching tactics, such as those involving koan introspection. (shrink)

That Conrad was familiar with Schopenhauer’s philosophy has been proposed by literary scholars and seconded, in passing, by philosophers. This has resulted in one-way studies of literary influence. This thesis is instead a two-way study in the philosophy of literature. It shows how Schopenhauer’s philosophy can illuminate Conrad’s fiction and how the fiction can become an analytical tool for exploring the philosophy. There are two strands in Schopenhauer’s philosophy. One is uncompromisingly concerned with salvation and will-denial. The second focuses on (...) self-knowledge and character, which leads to self-fulfilment and accommodation with the world. It is the latter strand, with character at its core, where the interests of the philosopher and creative writer coincide. My methodology is different from previous studies in that I propose Conrad’s direct source for Schopenhauer was not The World as Will and Idea but his essays, which are directed more towards the worldly strand of his philosophy. I argue that the use by literary scholars of Schopenhauer’s magnum opus as Conrad’s direct source has diverted them from his main area of interest in the philosophy, namely its approach to self-knowledge and character, and that this misplaced focus has tended to distort interpretations of his fiction. (shrink)

I suggest that emotions are not the primary affective attitude towards music. If we are to explain music’s expressiveness according to the Resemblance Theory, that theory should be extended to include feelings. Because of the lack of intentionality in music and the dearth of universal emotional gestures to explain the subtlety of music’s expressive power, explaining this expressiveness by making recourse to music’s relationships with emotions is bound to face challenges. I will argue that, even though the movements in music (...) associated with musical expressiveness might not necessarily be associated with emotions, they might very well be associated with certain feelings of the movement itself. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...) reference to a various research studies and hypothesis focused on the way listeners understand music, principles of perceptual organization which allow immediate awareness of music are investigated. Particular attention is given to studies in the field of music perception and cognition. Through an analysis of the main mental processes involved, the goal is to describe several relevant aspects of how listeners understand music at the perceptual level and constitute musical meanings in a subjective manner. This constitution results in a listener’s ability to become immediately aware of their auditory experience as having a specific meaning – that of being, first of all, a musical experience. Focusing on everyday experience and exposure to music, expectation and anticipation are presented as fundamental principles that contribute to the knowledge of the auditory environment and the meaning which acoustic events acquire for a subject. An in-depth analysis of their specific features will show the different influence expectation and anticipation have on a listener’s basic perceptual comprehension of music and in the constitution of musical meanings that are subjectively characterized. Within the framework of a theoretical investigation into human processes of musical knowledge acquisition, the additional objective is to create a dialogue between empirical research results in the field of music cognition and phenomenological descriptions of the structures of human consciousness. In particular, through clarification of the specific terminology that characterizes these two fields of research, the intent is to go beyond the historical gap which has existed between them. This combination of perspectives may increase our understanding of the way human beings know the world and learn how to react to the events which they encounter. (shrink)