This paper raises puzzles concerning our grasp of others’ aesthetic selves. I first articulate a conception of an aesthetic self, understood as an autonomously adopted orientation to objects of aesthetic value, encompassing the embrace of aesthetic reasons and the qualitative appreciative states that follow. This articulation is motivated by the commonplace observation that people’s aesthetic identities are important to them. Given this importance, we might think it salutary to grasp other people’s aesthetic selves, under the general auspices of ‘interpersonal understanding’. (...) Given the conception of aesthetic selves, we might think that empathy is an appropriate way to do so. But, second, I argue that you can’t find out about another’s aesthetic self via empathy. We might instead think that aesthetic conversation is the way to grasp aesthetic selves. However, third, I argue that the aim of finding out about others’ aesthetic selves is at odds with the ostensible aims of aesthetic conversation, which are to do with effacing individuality and creating commonality. So aesthetic selves seem hard to grasp. I finally briefly canvass some ways of solving this problem, without settling on a firm answer, and consider how the thoughts might extend to practical identities more generally. (shrink)

When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral beauty (...) in addition to those that have tended to be focused on to date: one which is connected to imagining a deep location for the goodness concerned, and another which is connected to imagining that the goodness stems from capacities which are essential to the person. (shrink)

Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how do (...) these experiences foster self-transcendence? -/- A thematic analysis was performed on the online interviews conducted (N=25), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters. (shrink)

Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on aesthetic testimony (...) seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)

The standard discussion of the relation between aesthetics and ethics tends to avoid the fundamental question: how are those two values ranked against each other in terms of importance. This paper looks at two arguments, the ‘resource allocation argument’ and the ‘relative weight argument’. It puts forward the view that any theory of aesthetic value should characterise aesthetic value in a way that allows for the existence of these arguments. It argues that hedonism does that successfully, but the more recent (...) approaches to aesthetic value—in particular Dominic McIver Lopes’s ‘Network Theory’ have more of a struggle. (shrink)

There is a dimension of rationality, known as structural rationality, according to which a paradigmatic example of what it means to be rational is not to be akratic. Although some philosophers claim that aesthetics falls within the scope of rationality, a non-akrasia constraint prohibiting certain combinations of attitudes is yet to be developed in this domain. This essay is concerned with the question of whether such a requirement is plausible and, if so, whether it is an actual requirement of aesthetic (...) rationality. Ultimately, this paper defends the view that aesthetics is no different from other domains in that it requires coherence between a subject’s mental states (in the aesthetic case, between what is judged and what is aesthetically liked). (shrink)

The aim of what I propose to call “existential aesthetics” is to investigate the various ways in which art and certain kinds of aesthetic practice or aesthetic experience can be of existential importance to people. Section I provides a definition of existential aesthetics, while Section II delineates this emerging field from cognate areas of research. Sections III and IV explore various subcategories and examples of existential aesthetics. Section V seeks to identify important avenues for future research and Section VI presents (...) some concluding thoughts about the potential of existential aesthetics and why philosophers should be encouraged to fulfill this potential. (shrink)

In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.

What do we owe each other when we act together? According to normativists about collective action, necessarily something and potentially quite a bit. They contend that collective action inherently involves a special normative status amongst participants, which may, for example, involve mutual obligations to receive the concurrence of the others before leaving. We build on recent empirical work whose results lend plausibility to a normativist account by further investigating the specific package of mutual obligations associated with collective action according to (...) our everyday understanding. However, our results cast doubt on a proposed obligation to seek the permission of co-actors before exiting a collective action, and suggest instead that this obligation is a function of explicit promising. We then discuss how our results pave the path for a new normativism, a theory that neither under- nor overshoots the target given by our common conception of the interpersonal obligations present in collective action.*. (shrink)

Matthes and I both hold that the central ethical harm of continuing to engage with the work of immoral artists lies in what doing so inadvertently expresses to others. (Matthes, 2021; Matthes, 2022; Willard, 2021; Willard, 2022). We also agree that there’s little wrong ethically with continuing to engage the work of immoral artists in private or within interpretive communities poised to place the ethical and the aesthetic in dialogue with each other. Matthes (2022, p. 523) notes that part of (...) his motivation for writing the book was the countless conversations he had with friends, colleagues, and strangers about the problem of immoral artists, and my experience–—everywhere from the doctor’s office to the classroom to the bike shop—was similar. Interpretive communities reappraise immoral artists’ art together.Outside of those contexts, we both advise caution. Liao (forthcoming) suggests that doing so comes at an unrecognized cost to our aesthetic agency because the source of aesthetic value is social. In response, Matthes (2022) argues that attending to the social expression of one’s aesthetic pursuits does not compromise our aesthetic agency. This seems right. Any reasonable account of the value of aesthetic agency should presumably allow for ordinary human decency to restrain one’s public expression of one’s aesthetic loves. The proper exercise of aesthetic autonomy requires not unbridled freedom, but sensitivity to the right kinds of reasons. (shrink)

Most people are in agreement that guilty pleasures exist, and that we feel them at some point in our life. In my masters thesis I am going to try and answer why guilty pleasure exists and if it should exist. I am going to do this by exploring three different types of situations where our aesthetic tastes may not align with what we think is correct to like. I will call these situations the self theory, the social theory and the (...) moral theory. I will discuss each one in turn and suggest reasons for and against them, ultimately concluding that the moral theory is the only theory that gives good reasons to think that guilty pleasure is justified. (shrink)