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Aesthetic Properties, Mind-Independence, and Companions in Guilt

In Christopher Cowie & Rach Cosker-Rowland, Companions in Guilt: Arguments in Metaethics. Routledge (2019)

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  1. Consciousness is Sublime.Takuya Niikawa - forthcoming - Ergo: An Open Access Journal of Philosophy.
    Does consciousness have non-instrumental aesthetic value? This paper answers this question affirmatively by arguing that consciousness is sublime. The argument consists of three premises. (1) An awe experience of an object provides prima facie justification to believe that the object is sublime. (2) I have an awe experience about consciousness through introspecting three features of consciousness, namely the mystery of consciousness, the connection between consciousness and well-being, and the phenomenological complexity of consciousness. (3) There is no good defeater of the (...)
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  • Folk Aesthetic Intersubjectivism.Giulio Pietroiusti - manuscript
    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, (...)
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  • Cavendish’s Aesthetic Realism.Daniel Whiting - 2023 - Philosophers' Imprint 23 (15):1-17.
    In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...)
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