We report the results of two studies that examine folk metaethical judgments about the objectivity of morality. We found that participants attributed almost as much objectivity to ethical statements as they did to statements of physical fact and significantly more objectivity to ethical statements than to statements about preferences or tastes. In both studies, younger participants attributed less objectivity to ethical statements than older participants. Females were observed to attribute slightly less objectivity to ethical statements than males, and we found (...) important interactions between attributions of objectivity and other factors, such as how strong participants’ moral opinions were and how much disagreement about the issue they perceived to exist within society. We believe our results have significant implications for debates about the nature of folk morality and about the nature of morality in general. (shrink)

One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic evaluations. And despite the wealth of (...) attention paid to aesthetic adjectives by philosophical aestheticians, they have paid little attention to contemporary linguistic theories of adjectives. We take our work to be a first step in remedying these lacunae. In this paper, we present four experiments that examine one aspect of how aesthetic adjectives ordinarily function: the context-sensitivity of their application standards. Our results present a prima facie empirical challenge to a common distinction between relative and absolute gradable adjectives because aesthetic adjectives are found to behave differently from both. Our results thus also constitute a prima facie vindication of some philosophical aestheticians’ contention that aesthetic adjectives constitute a particularly interesting segment of natural language, even if the boundaries of this segment might turn out to be different from what they had in mind. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...) how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Since at least Hume and Kant, philosophers working on the nature of aesthetic judgment have generally agreed that common sense does not treat aesthetic judgments in the same way as typical expressions of subjective preferences—rather, it endows them with intersubjective validity, the property of being right or wrong regardless of disagreement. Moreover, this apparent intersubjective validity has been taken to constitute one of the main explananda for philosophical accounts of aesthetic judgment. But is it really the case that most people (...) spontaneously treat aesthetic judgments as having intersubjective validity? In this paper, we report the results of a cross‐cultural study with over 2,000 respondents spanning 19 countries. Despite significant geographical variations, these results suggest that most people do not treat their own aesthetic judgments as having intersubjective validity. We conclude by discussing the implications of our findings for theories of aesthetic judgment and the purpose of aesthetics in general. (shrink)

A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that the experimental (...) results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support. (shrink)

Debates about the semantics and pragmatics of predicates of personal taste have largely centered on contextualist and relativist proposals. In this paper, I argue in favor of an alternative, absolutist analysis of PPT. Theorists such as Max Kölbel and Peter Lasersohn have argued that we should dismiss absolutism due to its inability to accommodate the possibility of faultless disagreement involving PPT. My aim in the paper is to show how the absolutist can in fact accommodate this possibility by drawing on (...) an account of faultless disagreement that improves upon a recent proposal due to Karl Schafer. In amending Schafer’s proposal, I put forward an empirically informed view of our beliefs regarding matters of personal taste, as well as an account of our assertions concerning such matters. I also argue that absolutists should take disagreement about these matters to be conative, rather than doxastic, in nature. The anticipated result is an independently compelling account of faultless disagreement about matters of personal taste that fits naturally with absolutism. (shrink)

Moral psychologists have recently turned their attention to the study of folk metaethical beliefs. We report the results of a cross-cultural study using Chinese, Polish and Ecuadorian participants that seeks to advance this line of investigation. Individuals in all three demographic groups were observed to attribute objectivity to ethical statements in very similar patterns. Differences in participants’ strength of opinion about an issue, the level of societal agreement or disagreement about an issue, and participants’ age were found to significantly affect (...) their inclination to view the truth of an ethical statement as a matter of objective fact. Implications for theorizing about folk morality are discussed. (shrink)

This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.

In everyday language, the expression ‘guilty pleasure’ refers to instances where one feels bad about enjoying a particular artwork. Thus, one’s experience of guilty pleasure seems to involve the feeling that one should not enjoy this particular artwork and, by implication, the belief that there are norms according to which some aesthetic responses are more appropriate than others. One natural assumption would be that these norms are first and foremost aesthetic norms. However, this suggestion runs directly against recent findings in (...) experimental philosophy, according to which most people deny the existence of aesthetic norms. Through three studies, we investigated people’s experiences of guilty pleasures and the norms that underlay these experiences. We tentatively conclude that guilty pleasures are more often connected to one’s personal norms and social expectations than to properly aesthetic norms. (shrink)

Is there a problem with believing based on moral testimony? The intuition that there is a problem is a starting point for much research on moral testimony. To arbitrate between various attempts to account for intuitions about moral testimony, we need to know the exact nature of those intuitions. The current study investigates this empirically. The study confirms an asymmetry in the way we think about testimony about moral and descriptive matters and explores the extent to which this asymmetry is (...) explained by different metaphysical beliefs about the relevant domains, or beliefs about the relative background levels of deception or disagreement. (shrink)

Are philosophers’ intuitions more reliable than philosophical novices’? Are we entitled to assume the superiority of philosophers’ intuitions just as we assume that experts in other domains have more reliable intuitions than novices? Ryberg raises some doubts and his arguments promise to undermine the expertise defence of intuition-use in philosophy once and for all. In this paper, I raise a number of objections to these arguments. I argue that philosophers receive sufficient feedback about the quality of their intuitions and that (...) philosophers’ experience in philosophy plausibly affects their intuitions. Consequently, the type of argument Ryberg offers fails to undermine the expertise defence of intuition-use in philosophy. (shrink)

Moral realists often assume that folk intuitions are predominantly realist, and they argue that this places the burden of proof on antirealists. More broadly, appeals to intuition in metaethics typically assume that folk judgments are generally consistent across individuals, such that they are at least predominantly something, if not realist. A substantial body of empirical work on moral objectivism has investigated these assumptions, but findings remain inconclusive due to methodological limitations. Objectivist judgments classify individuals into broad categories of realism and (...) antirealism, but they do not address more specific conflicts in the metaethical literature between different types of realism and antirealism, such as between nonnaturalism and divine command theory, or between noncognitivism and error theory. Further, the data currently show that the folk are objectivists about some moral claims but not others, raising questions that have not been addressed in previous studies about how much of the moral domain is judged to be objective, and about how endorsements of different types of realism and antirealism are distributed among different types of moral claims. Here, I present a new survey that addresses these limitations. The results challenge both of the empirical assumptions identified above, with important implications for metaethical methodology. (shrink)

Predicates of personal taste have attracted a great deal of attention from philosophers of language and linguists. In the intricate debates over PPT, arguably the most central consideration has been which analysis of PPT can best account for the possibility of faultless disagreement about matters of personal taste. I argue that two models of such disagreement—the relativist and absolutist models—are empirically inadequate. In their stead, I develop a model of faultless taste disagreement which represents it as involving a novel incompatibility (...) relation between preferences that I call type-noncotenability. This model is available to all parties in the ongoing debates about PPT, but it points up an advantage enjoyed by expressivist accounts of PPT. In closing, I consider four objections against the model that, while failing to fully undermine it, open up promising avenues of inquiry about the nature of disagreement. (shrink)

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...) they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

Experimental philosophy of aesthetics has explored to what extent ordinary people are committed to aesthetic realism. Extant work has focused on attitudes to normativism – a key commitment of realist positions in aesthetics – the claim that aesthetic judgments/statements have correctness conditions, invariant between subjects, such that there is a fact of the matter in cases of aesthetic disagreement. The emerging picture is that ordinary people strongly and almost universally reject normativism and thus there is no strong realist tendency in (...) ordinary people’s thinking about the aesthetic. This has been taken to dissolve the traditional puzzle in aesthetics of how to best account for the fact that (a) aesthetic judgments seem intersubjectively valid, while (b) aesthetic experience seems subjective. This paper presents studies which further enrich our understanding of ordinary thinking about the aesthetic: ordinary thinking about the aesthetic may not be so vehement in its rejection of normativism; and where previous results suggested that, in many cultures, the dominant trend is to reject correctness conditions for aesthetic judgments, the current results suggest participants think aesthetic judgments have correctness conditions (albeit perhaps very finely relativized to specific circumstances of judgment). (shrink)

Cova et al. (2019) have tested people's beliefs on aesthetic disagreement using experiments based on questionnaires. Since the vast majority of people chose answers that are incompatible with aesthetic intersubjectivism, Cova et al. claim that the aesthetics literature is misguided in assuming that ordinary people are intersubjectivists. Contesi et al. (2024) argue that those results are not in contrast with the aesthetics literature, given that folk intersubjectivism is generally understood as an implicit commitment, rather than an explicit belief; its presence, (...) therefore, cannot be inferred from people’s “explicit avowals”. Contesi et al. support their understanding of the literature by citing passages from contemporary philosophers. I argue that these passages fail to demonstrate that folk aesthetic intersubjectivism is regarded as implicit. (shrink)

Mathematicians often conduct aesthetic judgements to evaluate mathematical objects such as equations or proofs. But is there a consensus about which mathematical objects are beautiful? We used a comparative judgement technique to measure aesthetic intuitions among British mathematicians, Chinese mathematicians, and British mathematics undergraduates, with the aim of assessing whether judgements of mathematical beauty are influenced by cultural differences or levels of expertise. We found aesthetic agreement both within and across these demographic groups. We conclude that judgements of mathematical beauty (...) are not strongly influenced by cultural difference, levels of expertise, and types of mathematical objects. Our findings contrast with recent studies that found mathematicians often disagree with each other about mathematical beauty. (shrink)

Although experimental philosophy is now over a decade old, it has only recently been introduced to the domain of philosophical aesthetics. So why is there already a need to defend it? Because, as I argue in this paper, we can anticipate the three main types of objection generally addressed to experimental philosophy and show that none of them concern experimental philosophers in aesthetics. I begin with some general considerations about experimental philosophy and its, sometimes conflicting, characteristics. This framework is designed (...) to help me situate the experimental practice in aesthetics within the general movement. I then present the objections and respond to them in turn. Their failure should convince aestheticians to embrace the practice early on and opponents of experimental philosophy to revise their usual objections before addressing them to experimental philosophers in aesthetics. (shrink)

In the semantic debate about perspectival expressions – predicates of taste, aesthetic and moral terms, epistemic modals, etc. – intuitions about armchair scenarios (e.g., disagreement, retraction) have played a crucial role. More recently, various experimental studies have been conducted, both in relation to disagreement (e.g., Cova, 2012; Foushee and Srinivasan, 2017; Solt, 2018) and retraction (e.g., Knobe and Yalcin, 2014; Khoo, 2018; Beddor and Egan, 2018; Dinges and Zakkou, 2020; Kneer 2021; 2022; Almagro, Bordonaba Plou and Villanueva, 2023; Marques, 2024), (...) with the aim of establishing a more solid foundation for semantic theorizing. Both these types of data have been used to argue for or against certain views (e.g., contextualism, relativism). In this paper, I discern a common thread in the use of these data and argue for two claims: i) which perspective is adopted by those judging the armchair scenarios put forward and by the participants in experimental studies crucially matters for the viability of the intended results; ii) failure to properly attend to this puts recent experimental work at risk. Finally, I consider the case of cross-linguistic disagreement and retraction and assess their importance for the semantic debate about perspectival expressions, as well as for the claim that perspective matters in putting forward the data on which decisions about the right semantic view are made. (shrink)

Color relationalism holds that the colors are constituted by relations to subjects. The introspective rejoinder against this view claims that it is opposed to our phenomenally-informed, pre-theoretic intuitions. The rejoinder seems to be correct about how colors appear when looking at how participants respond to an item about the metaphysical nature of color but not when looking at an item about the ascription of colors. The present article expands the properties investigated to sound and taste and inspects the mentioned asymmetry, (...) with a particular focus on the principle of charity. Using a metaphysical item, we find that color and sound are no different from shape, our control for a clearly anti-relational property. Taste, on the other hand, is no different from likability, our control for a clearly relational property. Importantly, we find that the disparity between metaphysical and ascription items is due to participants using a principle of charity to interpret disagreement cases such that both parties can be correct. (shrink)

Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, I argue that if (...) conceptual engineers are interested in expanding their project to the field of aesthetics, which would greatly benefit the field, then they should rely on the existing experimental work of aestheticians. Experimental philosophers have only recently started to join forces with conceptual engineers in various fields, as well as to explore the methodological implications of such an alliance. This paper goes a step further by not only arguing that CE has potential in aesthetics, but that the way to realize this potential is to piggyback, so to speak, on the work of experimental aestheticians. In other words, instead of building a CE project in aesthetics from the ground up, this paper describes the support that CE can and should derive from current experimental aesthetics, thereby making the former’s development more efficiently realizable. Furthermore, I argue that doing so would also be beneficial to experimental aesthetics. Currently, the integration of X-Phi to the wider field of aesthetics is losing ground because certain objections—notably, the objection that X-Phi cannot be of relevance to normative questions—have not been properly refuted. By pairing up with a normative programme like CE, though, experimental aestheticians should finally be able to put these objections to rest. (shrink)

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public (...) philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

Theoria, Volume 87, Issue 5, Page 1322-1341, October 2021.

Crispin Wright and Filippo Ferrari have accused relativism of not accounting for ‘parity’ – the idea that, when we argue over matters of taste, we take our opponents’ opinions to be ‘as good as ours’ from our own committed perspective. In this paper, I show that (i) explaining parity has not been taken to be a desideratum by relativists and thus they cannot be accused of failing to fulfil a promise; (ii) Wright’s and Ferrari’s reasons for claiming that parity should (...) be a desideratum are unconvincing. (shrink)

Indexical contextualism (IC) is an account of predicates of personal taste (PPTs) which views the semantic content of PPTs as sensitive to the context in which they are uttered, by virtue of their containing an implicit indexical element. Should the context of utterance change, the semantic content carried by the PPT will also change. The main aim of this paper is to show that IC is unable to provide a satisfactory account of PPTs. I look at what I call “pure” (...) IC accounts and show that because they fail to respect empirical data regarding disagreements where neither person is at fault, known as “faultless disagreements”, they must be rejected. I then go on to consider what I call IC “plus” (IC+) accounts. Such accounts attempt to account for the faultlessness of such disagreements using a simple indexical semantics, whilst introducing some extra ingredient to account for the disagreement part. I focus on two main versions of IC+: Gutzmann’s (in: Meier, van Wijnberger-Huitink (eds) Subjective meaning: alternatives to relativism, De Gruyter, Berlin, 2016) expressivist account, and López de Sa’s (in: García-Carpintero, Kölbel (eds) Relative truth, Oxford University Press, Oxford, 2008; Erkenntnis 80(Supp 1):153–165, 2015) presuppositional account. I discuss some internal worries with these accounts before going on to some final remarks about IC/IC+ in general. I conclude that neither IC nor IC+ can provide a satisfactory semantics for PPTs. (shrink)

Experimental philosophy of art and aesthetics is the application of the methods of experimental philosophy to questions about art and aesthetics. By taking a scientific approach to experiences with art and aesthetic phenomena, it is continuous with the longstanding research program in psychology called empirical aesthetics. However, it is also continuous with traditional research in philosophy of art and aesthetics because it is centered on many of the same timeless questions. Like other branches of experimental philosophy, such as experimental moral (...) philosophy, it involves gathering data using empirical methods and bringing analyses of the data to bear on theorizing on a wide range of topics in philosophy of art and aesthetics: definition of art, ontology of art, aesthetic properties, aesthetic judgments, aesthetic adjectives, morality and aesthetics, and emotion and art. In this entry, we briefly examine the history prior to the current movement’s emergence in the 2010s, extensively survey extant works in this movement on each of the topics, and consider methodological debates regarding this movement. (shrink)

It is widely assumed that the possibility of faultless disagreement is to be explained by the peculiar semantics and/or pragmatics of special kinds of linguistic construction. For instance, if A asserts “o is F” and B asserts this sentence’s denial, A and B can disagree faultlessly only if they employ the right kind of predicate as their “F”. In this paper, I present an argument against this assumption. Focusing on the special case when the expression of interest is a predicate, (...) I present a series of examples in which the same pairs of sentences are employed, but in different contexts. In some cases, we get an impression of faultless disagreement and in some cases we don’t. I identify a pattern across these contexts and conclude that faultless disagreement is made possible, not by a special kind of predicate, but instead by a special kind of context. (shrink)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...) they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

The emerging field known as experimental philosophy has expanded into moral philosophy: by presenting experimental subjects with vignettes describing scenarios with moral implications, data about people's moral intuitions are gathered and analyzed. This paper examines the adequacy of applying the common methodology of experimental philosophy to the study of moral thought. By employing Raimond Gaita's notion of moral seriousness and his distinction between form and content, it argues that the kind of empirical research on moral intuitions conducted by experimental philosophers (...) fails to take into consideration some fundamental characteristics of moral thinking. (shrink)

This project aims to examine whether music has an emotional nature. I use the ancient Chinese text Music Has No Grief or Joy to construct three arguments for the illusion view, according to which music has no emotional nature and the emotional appearances of music are illusory. These arguments highlight representational inconstancy, expressive incapability, and evocative underdetermination as three ways to problematize the idea that music has an emotional nature. I draw on the Confucian tradition to formulate three responses to (...) the illusion view from representational reliability, expressive sincerity, and evocative appropriateness. These responses are shown to be inadequate. To examine the illusion view in detail, I adopt a comparative approach to structure a dialogue between ancient Eastern philosophy and contemporary Western philosophy. Nine arguments are constructed from three prominent approaches in contemporary Western musical aesthetics on the evocation, expression, and representation of emotion. I argue that each of these arguments reads emotion into music. Nevertheless, three insights emerge from the comparative discussion. The autonomy of emotional enjoyment, the possibility of emotional communication, and the function of emotional language in musical experiences call for explanations. I argue that the illusion view are amenable to these insights. The illusion view allows us to claim full ownership of emotional responses, have emotional communication by recognizing intended emotional meanings in music, and appreciate the practical value of emotional language in music industry and education. I formulate a possible objection on the basis of Charles Swann’s musical experience in Marcel Proust’s novel, according to which music has emotional agency in the formation of an emotion. This objection can be met and Swann’s musical experience can be integrated into the illusion view. The illusion view turns out to be experientially richer than it might appear at first. This project liberates musical listening and philosophical thinking from beliefs entrenched in the emotional illusion of music. (shrink)