The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...) their aesthetic evaluation and appreciation. This is why and how art is non-contingently related to pleasure. Call this, the Affective View. While I don’t advance conclusive arguments for the Affective View in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors’ power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the Affective View is worth serious reconsideration. (shrink)

The idea that there is an important place in philosophical aesthetics for virtues of art is not new, but it is now undergoing a serious re‐examination. Why might this be? What are the principles behind virtue aesthetics? Are there any good arguments for the theory? (I will take virtue aesthetics to be the theory that there is a central place for virtues of art.) What problems does virtue aesthetics face? And what might the implications be of virtue aesthetics both in (...) philosophy and in related disciplines? (shrink)

Intuitively speaking, a multiple artwork is one that admits of multiple ‘instances’ which are capable of playing a particular role in the appreciation of the work. The ‘explananda’ in the title of this article are things that have been proposed as requiring explanation by any adequate ontology of multiple artworks so conceived. This assumes that the ontology of art is in the business of explaining certain things, an assumption I defend. At least nine purported explananda have been proposed in the (...) relevant literature. I begin by offering a preliminary sketch of these explananda, identifying how they are grounded in our ordinary artistic practice and discourse, and how they have structured recent debates in the ontology of art. I next argue that the notion of ‘instance’ must be understood in a particular way if instance multiplicity is to capture the standard distinction between singular and multiple art forms. I then assess the relative significance and implications of the nine explananda for an adjudication of the debates in the ontology of art. I identify problems for the historically dominant ‘type’ theory of multiples, and propose an alternative account that speaks to all nine explananda. I conclude by reflecting on where this leaves us and how we should proceed. (shrink)

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical work—is (...) the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory. (shrink)

According to Aesthetic Empiricism, only the features of artworks accessible by sensory perception can be aesthetically relevant. In other words, aesthetic properties supervene on perceptual properties. Although commonly accepted in early analytic aesthetics, Aesthetic Empiricism has been the target of a number of thought experiments popularized by Gombrich, Walton, and Levinson, purporting to show that perceptually indiscernible artworks may differ aesthetically. In particular, this literature exploits three kinds of differences among perceptually indiscernible artworks that may account for aesthetic differences: relative (...) to categories of art, historical provenance, or means of production. Like in all philosophical thought experiments, the reliability of the elicited intuitions remains an empirical question that we address here with the methods of experimental philosophy. Throughout three studies, we show that most people do not believe that non-perceptual properties can modulate our evaluation of an artwork’s beauty. However, intuitions were much more divided when considering expressive aesthetic properties (such as intensity), and even clearly reversed when considering artistic properties (such as originality or technical achievement). Overall, our studies show that the central intuitions elicited by the classical indiscernibility arguments strongly depend on the class of manipulated properties (expressive aesthetic properties vs formal aesthetic properties; aesthetic properties vs artistic properties) and are thus more suited to refute artistic empiricism than aesthetic empiricism, narrowly construed. (shrink)

ABSTRACT Stand-up so closely resembles-and is meant to resemble-the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk-social spaces and third spaces such as bars, coffee houses, (...) and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up. (shrink)

Guy Rohrbaugh (2003) and Allan Hazlett (2012) have argued against the identification of musical works with sound-pattern types by arguing that musical works are.

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

The main aim of this paper is to examine the practice of describing intellectual pursuits in aesthetic terms, and to investigate whether this practice can be accounted for in the framework of a standard conception of aesthetic experience. Following a discussion of some historical approaches, the paper proposes a way of conceiving of aesthetic experience as both epistemically motivating and epistemically inventive. It is argued that the aesthetics of intellectual pursuits should be considered as central rather than marginal to our (...) philosophical accounts of aesthetic experience, and that our views about the relation between the aesthetic and cognitive domains should be reconfigured accordingly. (shrink)

Accounts of modality in terms of fictional possible worlds face an objection based on the idea that when modal claims are analysed in terms of fictions, the connection between analysans and analysandum seems artificial. Strong modal fictionalism, the theory according to which modal claims are analysed in terms of a fiction, has been defended by, among others, Seahwa Kim, who has recently claimed that the philosophical objection that the connection between modality and fictions is artificial can be met. I propose (...) a new way of spelling out the intuition of artificiality and show that strong modal fictionalism should be rejected. (shrink)

To what extent, and on what grounds, can we ethically evaluate art from a generative context that is at some significant distance from our present reception context—at enough distance, at least, so that the two contexts differ, in important ways, in aspects of their moral outlooks? This paper has four aims. The modest task of the paper is to show that this question is much more difficult than has been recognised. The somewhat more ambitious goal is a methodological intervention: it (...) is to highlight the need for interdisciplinary research that illuminates the socio-historical specificities of remote generative contexts in a way that allows us to see the relevant ways in which the moral outlooks overlap with ours (or do not). In relation, the third aim of the paper is to argue, with reference to Bernard Williams’s ‘relativism of distance’, that there are some cases in which the moral outlooks of a work’s generative and reception contexts differ so significantly that the warrant for our moral judgments of remote artworks is attenuated—if it exists at all. Finally, we try to demonstrate how the sort of interdisciplinary collaboration we’re advocating might inform our moral judgments of art—more specifically, in a way that invites a degree of quietude or uncertainty about remote artworks that are deeply morally troubling in our present reception context. We do this with reference to the paintings of Titian. (shrink)

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 (...) its versions) is not threatened by their examples and arguments. (shrink)

An impressive variety of theories of ontology of musical works has been offered in the last fifty years. Recently, the ontologists have been paying more attention to methodological issues, in particular, the problem of determining criteria of a good theory. Although different methodological approaches involve different views on the importance and exact role of intuitiveness of a theory, most philosophers writing on the ontology of music agree that intuitiveness and compliance with musical practice play an important part when judging theories. (...) A multitude of diverse claims exist regarding folk intuitions and matters of musical practice in the literature on the ontology of musical works. In this review paper, a systematized collection of about one hundred empirical claims extracted from the theoretical literature is presented. All of the empirical claims are categorized thematically. The paper also includes a short discussion on the role of appeals to common intuitions in methodological literature, as well as some suggestions for future research. (shrink)

A bewildering array of accounts of the ontology of musical works is available. Philosophers have held that works of music are sets of performances, abstract, eternal sound-event types, initiated types, compositional action types, compositional action tokens, ideas in a composer’s mind and continuants that perdure. This paper maintains that questions in the ontology of music are, in Rudolf Carnap’s sense of the term, pseudo-problems. That is, there is no alethic basis for choosing between rival musical ontologies. While we have no (...) alethic basis for choosing any ontology of music, pragmatic reasons can be given for favoring certain ontologies of musical works over others. (shrink)

Works of art are usually meant to elicit psychological effects from their audiences whereas paradigmatic technical artifacts such as hammers or cars are rather meant to produce physical effects when used. This suggests that works of art and technical artifacts are sharply different entities. However, recent developments in the cognitive sciences and the philosophy of technology have individuated special artifacts, namely cognitive and affective artifacts, which also generate psychological effects. In particular, affective artifacts, which have the capacity to alter the (...) affective condition of agents, seem to share crucial features with works of art. Can we subsume works of art under that kind? I will argue that we cannot. Still, comparing art with affective artifacts will help us to clarify the relationship between art and technology, and to introduce a new category, namely the experiential artifact, which can properly encompass works of art. (shrink)

There are many ways in which a musical performance can be “bad,” but here the focus is on two: those performances that make you laugh, and those that make you angry. These forms of musical badness, however, are not primarily compositional deficits, but either (a) that the performer simply cannot competently deliver the music to their audience, inducing laughter, or (b) that the performer exhibits some form of disrespect, provoking anger. Such laughter or anger stems from failure of the expected (...) relationship between a performer and their audience, that is, a social failure. After surveying a range of musical faults, the article examines the causes of laughter in general and in relation to some of examples of risible “bad” music. Similarly, the causes of social and moral anger in general are examined, and several cases of anger-inducing musical performances are presented. The article concludes with a consideration of the broader implications of these responses to “bad” music for theories of emotional expression in music, the relationship between aesthetic and moral judgments, and the centrality of musical performances as opposed to works in discussions of musical expression and value. (shrink)

In a recent article, Caterina Moruzzi (2018) develops and defends her musical stage theory. This discussion response supposes that Moruzzi's development and def.

Julian Dodd has characterized the default position in metaphysics as meta-ontologically realist: the answers to first-order ontological questions are thought to be entirely independent of the things we say and think about the entities at issue. Consequently, folk ontologies are liable to substantial error. But while this epistemic humility is commendable where the ontology of natural kinds is concerned, it seems misplaced with respect to social kinds since their ontology is dependent upon the human social world. Using art and art-kinds (...) as paradigmatic examples of social kinds, I argue that meta-ontological realism sets conditions that are too strict to apply to social kinds. Nevertheless, I argue that we should not be too quick to embrace the conclusion that our folk theories of social kinds cannot err substantially. By modelling the reference of social kind-terms on that of natural kind-terms, it becomes clear that in both cases, our sole epistemic privilege lies in our ability to pinpoint the subject of our inquiries. (shrink)