In this paper, I hope to provide an account of the conditions of moral realism whereby there are still significant metaphysical commitments made by the realist which set the view apart as a distinct position in the contemporary meta-ethical landscape. In order to do so, I will be appealing to a general account of what it is for realism to be true in any domain of experience, whether it be realism about universals, realism about unobservable scientific entities, realism about artifacts, (...) and so forth. (shrink)

According to some philosophers of technology, technology embodies moral values in virtue of its functional properties and the intentions of its designers. But this paper shows that such an account makes the values supposedly embedded in technology epistemically opaque and that it does not allow for values to change. Therefore, to overcome these shortcomings, the paper introduces the novel Affordance Account of Value Embedding as a superior alternative. Accordingly, artefacts bear affordances, that is, artefacts make certain actions likelier given the (...) circumstances. Based on an interdisciplinary perspective that invokes recent moral anthropology, I conceptualize affordances as response-dependent properties. That is, they depend on intrinsic as well as extrinsic properties of the artefact. We have reason to value these properties. Therefore, artefacts embody values and are not value-neutral, which has practical implications for the design of new technologies. (shrink)

According to moral sentimentalism, there are close connections between moral truths and moral emotions. Emotions largely form our moral attitudes. They contribute to our answerability to moral obligations. We take them as authoritative in guiding moral judgement. This role is difficult to understand if one accepts a full-blown moral realism, according to which moral truths are completely independent of our emotional response to them. Hence it is tempting to claim that moral truths depend on our emotional responses. I outline a (...) problem for this view: we are adamant that, if our moral sentiments were different, things would be the same, morally speaking. Moral truth does not seem to counterfactually depend on moral sentiments. I show how this independence can be reconciled with the role of moral sentiments in guiding our moral outlook. I draw on Yablo’s distinction between response-dependent and response-enabled properties. I propose that moral truths are response-enabled: their supervenience base does not include anything about our emotions. Hence they do not counterfactually depend on changes in our emotional response. However, their factual supervenience base being naturally ineligible, it is ultimately our response that enables them to play their role as an independent moral compass. (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)

Medium specificity is a theory, or rather a cluster of arguments, in aesthetics that rests on the idea that media are the physical material that makes up artworks, and that this material contains specific and unique features capable of 1) differentiating media from one another, and 2) determining the aesthetic potential and goals of each medium. As such, medium specificity is essential for aestheticians interested in matters of aesthetic ontology and value. However, as Noël Carroll has vehemently and convincingly argued, (...) the theory of medium specificity is inherently flawed and its many applications in art history ill-motivated. Famously, he concluded that we should ‘forget the medium’ entirely. In this thesis, I reject his conclusion and argue that reconstructing a theory of medium specificity, while taking Carroll’s objections into account, is possible. To do so, I offer a reconceptualization of the main theoretical components of medium specificity and ground this new theory in empirical research. I first redefine the medium not as the physical material that makes up artworks but as sets of practices – not the material itself but how one uses the material. I then show that what makes media specific and unique is not certain physical features, but the human responses, which can be empirically investigated, to the combination of practices that constitute media. This relation is one of response-dependence, albeit of a novel kind, which I develop by appealing to social metaphysics. The resulting theory is more complex but also much more flexible and fine-grained than the original and provides insight into a variety of current aesthetic theories. (shrink)