Accounts of aesthetic valuing emphasize two constraints on the formation of aesthetic belief. We must form our own aesthetic beliefs by engaging with aesthetic value first-hand (the acquaintance principle) and by using our own capacities (the autonomy principle). But why? C. Thi Nguyen’s proposal is that aesthetic valuing has an inverted structure. We often care about inquiry and engagement for the sake of having true beliefs, but in aesthetic engagement this is flipped: we care about arriving at good aesthetic beliefs (...) for the sake of the values that arise in the process of doing so. The engagement is the point, so we must use our own capacities in first-hand encounters. Here I challenge Nguyen’s account. I argue that it misconstrues the value of aesthetic belief; it conflicts with restrictions on aesthetic testimony; and it has trouble harnessing engagement-value for a theory of aesthetic value. A better approach emphasizes the social character of aesthetic valuing. On this view, aesthetic valuing is a social practice structured around the collaborative exercise and improvement of certain special capacities. The autonomy and acquaintance principles tell us to engage these capacities in forming our aesthetic beliefs. Understood aright, and contrary to consensus, these rules are identical. (shrink)

According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...) to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value-Meriting-Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non-contingently, but also non-hedonically. VMP is the view that objects of aesthetic value are non-contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit. (shrink)

The aim of this paper is to extract from Kant's writings an account of the nature of the emotions and their function – and to do so despite the fact that Kant neither uses the term ‘emotion’ nor offers a systematic treatment of it. Kant's position, as I interpret it, challenges the contemporary trends that define emotions in terms of other mental states and defines them instead first and foremost as ‘feelings’. Although Kant's views on the nature of feelings have (...) drawn surprisingly little attention, I argue that the faculty of feeling has the distinct role of making us aware of the way our faculties relate to each other and to the world. As I show, feelings are affective appraisals of our activity, and as such they play an indispensable orientational function in the Kantian mind. After spelling out Kant's distinction between feeling and desire, I turn to the distinction between feeling and cognition and show that while feelings are non-cognitive states, they have a form of derived-intentionality. §4 argues that what feelings are about, in this derived sense, is our relationship to ourselves and the world: they function as affective appraisals of the state of our agency. §5 shows that this function is necessary to the activity of the mind insofar as it is orientational. Finally, §6 discusses the examples of epistemic pleasure and moral contentment and argues that they manifest the conditions of cognitive and moral agency respectively. (shrink)

This paper explores a distinctive form of social interaction—interpersonal inquiry—in which two or more people attempt to understand one another by engaging in conversation. Like many modes of inquiry into human beings, interpersonal inquiry partly shapes its own objects. How we conduct it thus affects who we become. I present an ethical ideal of conversation to which, I argue, at least some of our interpersonal inquiry ought to aspire. I then consider how this ideal might influence philosophical conceptions of the (...) self. (shrink)

Although it may seem like a truism to assert that biology is the science that studies organisms, during the second half of the twentieth century the organism category disappeared from biological theory. Over the past decade, however, biology has begun to witness the return of the organism as a fundamental explanatory concept. There are three major causes: (a) the realization that the Modern Synthesis does not provide a fully satisfactory understanding of evolution; (b) the growing awareness of the limits of (...) reductionism in molecular biology; and (c) the renewed interest in the nature of life as a genuine scientific problem. This essay examines these recent developments and considers the new epistemological roles being played by the organism in each of them. It also reflects on what the present resurgence of the organism means for the philosophy of biology. (shrink)

Do aesthetic reasons have normative authority over us? Could there be anything like an aesthetic ‘ought’ or an aesthetic obligation? I argue that there are no aesthetic obligations. We have reasons to act certain ways regarding various aesthetic objects – most notably, reasons to attend to and appreciate those objects. But, I argue, these reasons never amount to duties. This is because aesthetic reasons are merely evaluative, not deontic. They can only entice us or invite us – they can never (...) compel us. Beauty gives us goods without shoulds. (shrink)

In this paper, I argue that Kant has a far more communitarian theory of aesthetic life than is usually acknowledged. I focus on two aspects of Kant’s theory that might otherwise be taken to support an individualist reading, namely, Kant’s emphasis on aesthetic autonomy and his characterization of judgments of taste as involving demands for agreement. I argue that the full expression of autonomy in fact requires being a member of an aesthetic community and that within such a community, judgments (...) of taste are issued as invitations to others to engage their faculties towards the goal of shared aesthetic appreciation. (shrink)

I offer the first sustained defence of the claim that ugliness is constituted by the disposition to disgust. I advance three main lines of argument in support of this thesis. First, ugliness and disgustingness tend to lie in the same kinds of things and properties (the argument from ostensions). Second, the thesis is better placed than all existing accounts to accommodate the following facts: ugliness is narrowly and systematically distributed in a heterogenous set of things, ugliness is sometimes enjoyed, and (...) ugliness sits opposed to beauty across a neutral midpoint (the argument from proposed intensions). And third, ugliness and disgustingness function in the same way in both giving rise to representations of contamination (the argument from the law of contagion). In making these arguments, I show why prominent objections to the thesis do not succeed, cast light on some of the artistic functions of ugliness, and, in addition, demonstrate why a dispositional account of disgustingness is correct, and present a novel problem for warrant-based accounts of disgustingness (the ‘too many reasons’ problem). (shrink)

In his 2009 monograph, Darwinian Populations and Natural Selection, Peter Godfrey-Smith accuses biologists of demonstrating ‘Darwinian Paranoia’ when they engage in what he dubs ‘agential thinking’. But as Daniel Dennett points out, he offers neither an illuminating set of examples nor an extended argument for this assertion, deeming it to be a brilliant propaganda stroke against what is actually a useful way of thinking. Compared to the dangers of teleological thinking in biology, the dangers of agential thinking have unfortunately rarely (...) been discussed. Drawing on recent work by Samir Okasha, I attempt to remedy this omission, through analyzing the nature of agential thinking, and providing a philosophical treatment of the unexamined dangers in this peculiar, yet tempting way of thinking. (shrink)

This paper surveys some of the central issues in the philosophy of creativity and argues that an adequate treatment of them requires attention to the rich psychological literature on creativity. It also shows that the range of interesting philosophical questions to be raised about creativity is much wider than concerns its role in art. Issues covered include the definition of ‘creativity’; the relation of creativity to imagination; whether the creative process is rational; whether it is teleological; the relation of creativity (...) to knowledge; whether creativity can be explained; computational and Darwinian theories of creativity; whether creativity is a virtue; the relation of creativity to tradition; the aesthetic value of creativity; and whether creative activity is different in science and art. (shrink)

Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...) psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework. (shrink)

Creativity is typically defined as a disposition to produce valuable ideas. We argue that this is a mistake and defend a new definition of creativity in terms of the imagination. It follows that creativity has instrumental value at most and then only in the right circumstances. We consider the role of tradition and judgment in worthwhile creativity and argue that there is frequently a tension between greater creativity and the production of value.

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)

By the start of the twenty-first century, the notion of ‘the sublime’ had come to seem incoherent. In the last ten years or so considerable light has been shed by empirical psychologists on a related notion of ‘awe’, and a fruitful dialogue between aestheticians and empirical psychologists has ensued. It is the aim of this paper to synthesize these advances and to offer what I call a ‘two-tiered’ theory of the sublime that shows it to be a coherent aesthetic category. (...) On this theory, sublime experiences begin in an ‘awe response’ (the ‘thin sublime’) and might, with the additional element of temporally-extended reflection, turn into a ‘thick sublime’ response. Building on accounts of the sublime as a species of ‘aesthetic awe’ (Clewis, 2019a and 2019b; Arcangeli, et al., 2020) I aim to show that this two-tiered theory helps to explain why sublime experiences seem to have a basic, primordial core, but also seem to be historically and culturally quite variable (as Nicolson, 1963 [1959]; Battersby, 2007; and McMahon, 2017 have stressed). On this model, the cultural and historical variability comes in largely at the point of the temporally-extended reflection characteristic of the thick sublime, due to the cognitive stock that the subject brings to the encounter. Thus, sublime experiences really lend themselves to being interpreted quite variously by the subject (as well as by the theorist) of these experiences, as, for example, affording insight into the Divine, our moral vocation, or our metaphysical unity with the entire universe, among other lofty thoughts. (shrink)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning the nature (...) of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

This article presents a new argument concerning the relation between Kant’s theory of race and aspects of the critical philosophy. It argues that Kant’s treatment of the problem of the systematic unity of nature and knowledge in the Critique of Pure Reason and the Critique of the Power of Judgment can be traced back a methodological problem in the natural history of the period – that of the possibility of a natural system of nature. Kant’s transformation of the methodological problem (...) from natural history into a set of philosophical problems proceeds by way of the working out of his own problem in natural history – the problem of the natural history of the human races – and specifically the problem of the unity in diversity of the human species, in response to which he develops a theory of race. This theory of race is, further, the first developed model of the use of teleological judgment in Kant’s work. The article thus argues that Kant’s philosophical position on the sy... (shrink)

In the Critique of Pure Reason, Kant describes schematism as a (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally as Kunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the term Kunst in the Critique of Judgment we gain valuable insight into the nature of schematism, as well as its (...) connection to Kant's concerns in the third Critique. (shrink)

It is widely held within contemporary metaethics that there is a lack of linguistic support for evaluative expressivism. On the contrary, it seems that the predictions that expressivists make about evaluative discourse are not borne out. An instance of this is the so-called problem of missing Moorean infelicity. Expressivists maintain that evaluative statements express non-cognitive states of mind in a similar manner to how ordinary descriptive language expresses beliefs. Conjoining an ordinary assertion that p with the denial of being in (...) the corresponding belief state famously gives rise to Moorean infelicity:?? It’s raining but I don’t believe that it’s raining. If expressivists are right, then conjoining evaluative statements with the denial of being in the relevant non-cognitive state of mind should give rise to similar infelicity. However, as several theorists have pointed out, this does not seem to be the case. Statements like the following are not infelicitous: Murder is wrong but I don’t disapprove of it. In this paper, I argue that evaluative statements express the kind of states that are attributed by ‘find’-constructions in English and that these states are non-cognitive in nature. This addresses the problem of missing Moorean infelicity and, more generally, goes to show that there are linguistic facts which support expressivism about evaluative discourse. (shrink)

In this brief essay, I will lay out the philosophical landscape concerning theories of racist humor. First, I mention some preliminary issues that bear on the question of what makes a joke racist. Next, I briefly survey some of the views philosophers have offered on racist humor, and on a view of sexist humor that is relevant for this discussion. I then suggest the debates could benefit from moving beyond the racist/non-racist binary most views presuppose. Finally, I conclude with suggestions (...) for further research. (shrink)

This paper surveys historical and recent philosophical discussions of the relations between imagination and creativity. In the first two sections, it covers two insufficiently studied analyses of the creative imagination, that of Kant and Sartre, respectively. The next section discusses imagination and its role in scientific discovery, with particular emphasis on the writings of Michael Polanyi, and on thought experiments and experimental design. The final section offers a brief discussion of some very recent work done on conceptual relations between imagination (...) and creativity. (shrink)

In their recent book Radicalizing Enactivism. Basic minds without content, Dan Hutto and Erik Myin make two important criticisms of what they call autopoietic enactivism. These two criticisms are that AE harbours tacit representationalists commitments and that it has too liberal a conception of cognition. Taking the latter claim as its main focus, this paper explores the theoretical underpinnings of AE in order to tease out how it might respond to H&M. In so doing it uncovers some reasons which not (...) only appear to warrant H&M’s initial claims but also seem to point to further uneasy tensions within the AE framework. The paper goes beyond H&M by tracing the roots of these criticisms and apparent tensions to phenomenology and the role it plays in AE’s distinctive conception of strong life-mind continuity. It is highlighted that this phenomenological dimension of AE contains certain unexamined anthropomorphic and anthropogenic leanings which do not sit comfortably within its wider commitment to life-mind continuity. In light of this analysis it is suggested that AE will do well to rethink this role or ultimately run the risk of remaining theoretically unstable. The paper aims to contribute to the ongoing theoretical development of AE by highlighting potential internal tensions within its framework which need to be addressed in order for it to continue to evolve as a coherent paradigm. (shrink)

The acquaintance debate in aesthetics has been traditionally divided between pessimists, who argue that testimony does not provide others with aesthetic knowledge of artworks, and optimists, who hold that acquaintance with an artwork is not a necessary precondition for acquiring aesthetic knowledge. In this paper I propose a reconciliationist solution to the acquaintance debate: while aesthetic knowledge can be had via testimony, aesthetic judgment requires acquaintance with the artwork. I develop this solution by situating it within a virtue aesthetics framework (...) based on Ernest Sosa's virtue epistemology. I go on to apply the solution to the debates on moral testimony and expert testimony. An interesting variant on Gettier cases emerges: cases in which subjects have knowledge, but it has been formed by the wrong competence. (shrink)

The notion of aesthetic ideas is of great importance to Kant's thinking about art. Despite its importance, he says little about it. He characterizes aesthetic ideas as representations of the imagination and says that the gift of artistic genius is the inscrutable capacity to envision them. Furthermore, they are counterparts of rational ideas. Works of art thus sensibly present rational ideas; the pleasure they occasion is a consequence of the enriching process of reflection upon the wealth of content they sensibly (...) present. The purpose of this article is to ask whether all rational ideas have aesthetic ideas as counterparts, and so can be presented in art, or whether only some do and which. The answer should reveal what, for Kant, is the subject-matter of art. I argue that for Kant art is concerned with the range and variety of human freedom as well as with its highest fulfillment in morality. (shrink)

I argue that a Kantian inspired investigation into animal morality is both a plausible and coherent research program. To show that such an investigation is possible, I argue that philosophers, such as Korsgaard, who argue that reason demarcates nonhuman animals from the domain of moral beings are equivocating in their use of the term ‘rationality’. Kant certainly regards rationality as necessary for moral responsibility from a practical standpoint, but his distinction between the noumenal and phenomenal means that he can only (...) establish it as a marker for morality from a theoretical standpoint. This means that when it comes to evaluating the moral capabilities of others, rationality can be neither necessary nor sufficient for morality, leaving open the possibility of other empirical markers for moral responsibility. I argue that the higher faculties, character, implicit knowledge of universality, and antecedent practical pleasures (which provide a way to distinguish between morally motivated behaviour and other types of socially motivated behaviour) can all serve as empirical markers for morality. There is empirical evidence that at least some animals have conceptual capabilities and therefore the empirical marker of the higher faculties. In addition, there is suggestive evidence that merits further investigation for the other three markers. While this will not provide a definitive answer on whether animals are capable of acting morally, it will provide a Kantian outlook that can be used to evaluate empirical and philosophical work on animal morality. (shrink)

This article explores the affective dimension of resilient epistemological systems. Specifically, I argue that responsible epistemic practice requires affective engagement with nondominant experiences. To begin, I outline Kristie Dotson's account of epistemological resilience whereby an epistemological system remains stable despite counterevidence or attempts to alter it. Then, I develop an account of affective numbness. As I argue, affective numbness can promote epistemological resilience in at least two ways. First, it can reinforce harmful stereotypes even after these stereotypes have been rationally (...) demystified. To illustrate, I examine the stereotype of Black criminality as it relates to false confessions. Second, it can encourage “epistemic appropriation”, which I demonstrate by examining the appropriation of “intersectionality” and #MeToo by white culture. Finally, I conclude that resisting harmful resilience requires affective resistance, or efforts that target numbness via different kinds of affective engagement. I consider Kantian “disinterestedness” as a candidate. (shrink)

Arthur Danto argued from the premiss that artworks are essentially cognitive to the conclusion that they are incidentally aesthetic. I wonder why Danto, and the very many of us he persuaded, came to believe that the cognitive and the aesthetic oppose one another. I argue, contrary to Danto’s historical claims, that the cognitive and the aesthetic did not come into opposition until the late nineteenth or early twentieth century, and that they were brought into opposition for reasons of art-critical expediency (...) rather than philosophical necessity. I conclude that a robustly cognitive notion of the aesthetic remains an option for us. (shrink)

Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, social practices, and aesthetic value primitivism. I conclude (...) by raising questions for further work in this area. (shrink)

The aesthetic category of the sublime has been theorized (especially in the Kantian tradition) as integrally intertwined with the moral. Paradigmatic experiences of the sublime, such as gazing up at the starry night sky, or out at a storm-whipped sea, lead in a moral or religious direction depending on the cognitive stock brought to the experience, since they typically involve a feeling of awe and reflection on the peculiar situation of the human being in nature. The monumental is a similar (...) aesthetic category, integrally intertwined with the political, but, by contrast, has garnered almost no attention from aestheticians. My main goal in this paper is to sketch a theory of ‘the monumental’ as an aesthetic category—one that is a species of the sublime but differs qualitatively from the natural/environmental sublime in significant ways, and thus merits a distinctive label. In doing so, I aim to shed light on the nature and power of monuments specifically, and to begin to address a lacuna in our understanding of a long-standing and culturally important form of public art. (shrink)

Transcendental philosophy was not born like Athena out of Zeus’s head, mature and in full armour from the very beginning. That is why in both prefaces to the Critique of Pure Reason (1781 and 1787) Kant introduces the concept of transcendental philosophy as an “idea.” The idea understood architectonically develops slowly and only gradually acquires a definite form. As witnessed by the works of Kant himself and of his predecessors and followers, the idea of transcendental philosophy has undergone a series (...) of changes and adjustments compared to the initial plan. In this context, my goal is not simply exegesis and historical investigation of transcendental philosophy, but also to look at it from a systematic and methodological perspective. I examine the concept of transcendental philosophy from the viewpoint of programmatic metaphilosophy. The first part discusses programmatics as a distinct subsection of metaphilosophy. I argue that Kant’s architectonic methodology and the methodology of Lakatos can be used to understand the inception, development and degradation of philosophical systems. In the second part I look at the project of transcendental philosophy and the stages of its development from the standpoint of architectonics. The third part shows that Lakatos’s methodology can provide a detailed insight into the elements of transcendental philosophy, a clear idea of its logic and identify the component parts that can be improved and developed. In spite of the different levels of detailing and epistemological prerequisites, the methodologies of Kant and Lakatos can be combined to achieve a metaphilosophically informed and progressive understanding of philosophical projects. (shrink)

In this paper, I examine the role of attention in Kant’s aesthetic theory in the Critique of the Power of Judgment. While broadly Kantian aestheticians have defended the claim that there is a distinct way that we attend to objects in aesthetic experience, Kant himself is not usually acknowledged as offering an account of aesthetic attention. On the basis of Kant’s more general account of attention in other texts and his remarks on attention in the Critique of the Power of (...) Judgment, I reconstruct Kant’s account of aesthetic attention. On this account, aesthetic attention is simultaneously directed at the form of an object and at the judging subject’s own mental states as she attends to the object. In the experience of beauty, we specifically attend to the harmonious relation between the faculties of imagination and understanding. (shrink)

This paper offers a systematic analysis of Poincaré’s understanding of beauty in science. In particular, the paper examines the epistemic significance Poincaré attributes to aesthetic judgement by reconstructing and analysing his arguments on simplicity and unity in science. I offer a consistent reconstruction of Poincaré’s account and show that for Poincaré simplicity and unity are regulative principles, linked to the aim of science—that of achieving understanding of how phenomena relate. I show how Poincaré’s account of beauty in science can be (...) incorporated within his wider philosophy of science. (shrink)

In this paper, I explore the possibility of developing a Kantian account of the ethics of belief by deploying the tools provided by Kant's ethics. To do so, I reconstruct epistemic concepts and arguments on the model of their ethical counterparts, focusing on the notions of epistemic principle, epistemic maxim and epistemic universalizability test. On this basis, I suggest that there is an analogy between our position as moral agents and as cognizers: our actions and our thoughts are subject to (...) the same rational norm. (shrink)

In philosophy of aesthetics, scholars commonly express a commitment to the premise that there is a distinctive type of judgment that can be meaningfully labeled “aesthetic”, and that these judgments are distinctively different from other types of judgments. We argue that, within an Aristotelian framework, there is no clear avenue for meaningfully differentiating “aesthetic” judgment from other types of judgment, and, as such, we aim to question the assumption that aesthetic judgment does in fact constitute a distinctive kind of judgment (...) that is in need of, or can be subject to, distinctive theorizing. We advance our argument primarily through demonstrating that leading contemporary accounts of aesthetic judgment do not successfully distinguish a type of judgment in that they do not tell us how making an aesthetic judgment differs substantially from judging that 2 + 3 = 5, that football is entertaining, or that today is Tuesday. (shrink)

In this article, I argue that the current literature on political hope overlooks its non-instrumental value. By proposing a Kant-inspired account of treating reasonable hopes as fundamental hopes, I argue that it is rational for people to hold certain political hopes not only because such hopes promote particular ends but also because they are constitutive of a person’s practical identity as a responsible political agent with limited power to make changes. This view reveals that victims of injustice face an affective (...) injustice because the unjust social system forces them to face a double bind in upholding their fundamental political hopes. (shrink)

In the Doctrine of Virtue Kant divides duties of love into three categories: beneficent activity , gratitude and Teilnehmung – commonly referred to as the duty of sympathy . In this paper I will argue that the content and scope of the third duty of love has been underestimated by both critics and defenders of Kant's ethical theory. The account which pervades the secondary literature maintains that the third duty of love includes only two components: an obligation to make use (...) of our natural receptivity to sympathetic feelings as a means to fulfilling other duties of love, and an indirect duty to cultivate these feelings. As a result, Kant's duty of sympathy has been widely regarded as a duty whose value is derived from the way in which it serves other duties, in particular, the duty of beneficent activity, which obliges agents ‘to promote according to one's means the happiness of others in need’ . Teilnehmung has thus assumed something of a second-class status among the duties to others. My aim in this paper is to demonstrate that the prevailing account of Kant's third duty of love is incomplete. (shrink)

Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...) is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti-experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren’t clearly insoluble. (shrink)

“de-extinction” refers to the process of resurrecting extinct species by genetic methods. This science-fiction-sounding idea is in fact already in early processes of scientific implementation. Although this recent “revival of the dead” raises deep ethical questions, the ethics of de-extinction has barely received philosophical treatment. Rather than seeking a verdict for or against de-extinction, this paper attempts an overview and some novel analyses of the main ethical considerations. Five dimensions of the ethics of de-extinction are explored: (a) the possible contribution (...) of de-extinction to promoting ecological values, (b) the deontological argument that we owe de-extinction to species we rendered extinct, (c) the question of “playing God” through de-extinction, (d) the utilitarian perspective, and (e) the role of aesthetic considerations in the ethics of de-extinction. A general feature arising from the paper’s discussion is that, due to de-extinction’s special character, it repeatedly tests the limits of our ethical notions. (shrink)

This paper is about the opposite of judgement and calculation. This opposition has been a traditional anchor of critiques concerned with the rise of AI decision making over human judgement. Contrary to these approaches, it is argued that human judgement is not and cannot be replaced by calculation, but that it is human judgement that contextualises computational structures and gives them meaning and purpose. The article focuses on the epistemic structure of algorithms and artificial neural networks to find that they (...) always depend on human judgement to be related to real life objects or purposes. By introducing the philosophical concept of judgement, it becomes clear that the property of judgement to provide meaning and purposiveness is based on the temporality of human life and the ambiguity of language, which quantitative processes lack. A juxtaposition shows that calculations and clustering can be used and referred to in more or less prejudiced and reflecting as well as opaque and transparent ways, but thereby always depend on human judgement. The paper clearly asserts that the transparency of AI is necessary for their autonomous use. This transparency requires the explicitness of the judgements that constitute these computational structures, thereby creating an awareness of the conditionality of such epistemic entities. (shrink)

For Kant the definitive end of art is the expression of aesthetic ideas that are sensible counterparts of rational ideas. But there is another type of aesthetic idea: ‘Beauty can in general be called the _expression_ of aesthetic ideas: only in beautiful nature the mere reflection on a given intuition, without a concept of what the object ought to be, is sufficient for arousing and communicating the idea of which that object is considered as the _expression_.’ What are these aesthetic (...) ideas? I argue that Kant is drawing on the idealist conception of art, associated with Vasari, Bellori and Winckelmann, as presenting idealized spatial forms characteristic of natural kinds. He incorporates this conception into his analysis of the beauty of nature and adds that we have non-conceptual access to it. These idealized forms he names aesthetic normal ideas of natural species. §51 of Kant’s Critique of the Aesthetic Power of Judgment opens with an unexpected claim, described by readers as ‘puzzling’, ‘perplexing’ and even as a ‘notorious mystery’.1 1 Beauty can in general be called the _expression_ of aesthetic ideas: only in beautiful art this idea must be occasioned by a concept of the object, but in beautiful nature the mere reflection on a given intuition, without a concept of what the object ought to be, is sufficient for arousing and communicating the idea of which that object is considered as the _expression_. 2 2 I will argue that, in this passage, Kant states that there are two types of aesthetic ideas—namely, aesthetic ideas expressed in beautiful art and aesthetic ideas expressed by beautiful nature. This distinction is surprising for, before this juncture, there is no explicit claim that there are different types of aesthetic ideas. In fact, although Kant offers several seemingly general characterizations of aesthetic ideas, in none of them does he indicate that there is a subdivision of the genus. Noteworthy, too, is the claim that the distinct pleasure we take in beautiful nature is independent of concepts; for strikingly, it can be considered as the expression of what the passage above expressly calls ideas. In his analysis of fine art, Kant draws the distinction between natural and artistic beauty—a distinction that is succinctly repeated in the passage above.3 3 But when he goes on to explicate the notion of an aesthetic idea, he refers only to aesthetic ideas expressed in art. This fact is taken to support the assumption that aesthetic ideas are connected solely to art. This is the heart of the mystery of the passage, for in it, Kant explicitly talks about aesthetic ideas expressed by beautiful nature. This raises a crucial question: Does the explication of aesthetic ideas in the sections on art apply to aesthetic ideas of beautiful nature?I maintain that the answer is negative. Although, in the passage above, Kant uses the same term in relation to both kinds of beauty, he has a clear distinction in mind: Beauty in art is an aesthetically or sensuously unified expression of the conceptual richness of an idea of reason; beauty in nature is an expression of a purely aesthetically or sensuously unified richness. Obviously, this distinction is connected to other significant differences between the two kinds of beauty. But it is important to point out at the outset that the two types of aesthetic ideas have in common only the quality of being a sensuously unified richness. It is in this sense that they are both species of a single genus. But what more precisely does Kant mean by aesthetic ideas expressed by beautiful nature, and what unified richness do they express and how precisely do they express it? It is to the historical genealogy of this notion of aesthetic ideas of beautiful nature and its implications for Kant’s theory of beauty that this paper is devoted. This historical genealogy will reveal a sense of the notion of aesthetic ideas that we easily overlook but would have been familiar to Kant and his contemporaries. (shrink)

Critical theories often express scepticism towards the idea that social critique should draw on general normative principles, seeing such principles as bound to dominant conceptual frameworks. However, even the models of immanent critique developed in the Frankfurt School tradition seem to privilege principles over particular moral experiences. Discussing the place that particular moral experience has in the models of Honneth, Ferrara and Adorno, the article argues that experience can play an important negative role even for a critical theory that is (...) committed to the necessity of conceptual mediation, as moral experiences can undermine our confidence in the appropriateness of our moral concepts. Building on McDowell’s account of moral perception and Brandom’s interpretation of Hegel’s theory of experience, one can reconstruct Adorno as providing a “radically negativist” approach to immanent critique that takes particular moral experience seriously. (shrink)

There is a debate in the literature as to whether Kantian self-conceit is intrapsychic or interpersonal. I argue that self-conceit is both. I argue that, for Kant, self-conceit is fundamentally an illusion about authority, one’s own and any authority one stands in relation to. Self-conceit refuses to recognize the authority of the law. But the law “shows up” for us in two guises: one’s own reason and other persons. Thus, self-conceit refuses to recognize both guises of the law. Hence self-conceit (...) is essentially double-sided, at once intrapsychic and interpersonal. (shrink)

Is there tension in a view of the conditions of being in a proper position to make aesthetic evaluations that is committed to aesthetic autonomy and norms of exposure? I define ‘aesthetic autonomy’ in terms of the Kantian idea that in order to make a proper aesthetic evaluation, one must rely on oneself rather than on any outside source. I define ‘norms of exposure’ in terms of the Humean idea that practice and aesthetic education are conditions of proper aesthetic evaluation. (...) Prima facie, these two commitments point toward competing accounts of whether exposure is a condition of being in a position to make proper aesthetic evaluations. However, I argue that a closer look at the Kantian position reveals that aesthetic exposure is a condition of being able to make aesthetic evaluations in an autonomous way in the Kantian framework. (shrink)

The Analytic of the Beautiful in Kant's Critique of Aesthetic Judgment is a text of unparalleled importance in the history of philosophical aesthetics. Its main claims are adopted by some and rejected by others. A significant number of responses, of both kinds, take the Analytic to apply to all experiences of beauty—most notably, to the beauty of both nature and fine art. Our principal claim is that this assumption is mistaken. The analysis in the misleadingly titled Analytic of the Beautiful (...) applies paradigmatically to judgments of natural beauty. The experience of the beauty of most artworks is different and requires a separate analysis. We detail the modifications required in all four moments of the Analytic and thereby explicate the experience of artistic beauty. This reveals that Kant holds an interesting and historically consequential account of the experience of artistic beauty, which is significantly different from the experience of natural beauty. The analysis further reveals that despite these significant differences, the experiences are both species of a single genus. (shrink)

According to the mainstream position in the bioethical definition of death debate, death is to be equated with the cessation of an organism. Given such a perspective, some bioethicists uphold the position that brain-dead patients are dead, while others claim that they are alive. Regardless of the specific opinion on the status of brain-dead patients, the mere bioethical concept of death, according to many bioethicists, has the merit of being unanimous and univocal, as well as grounded in biology. In the (...) present article, we challenge such a thesis. We provide evidence that theoretical biology operates with a plurality of equally valid organismic concepts, which imply different conclusions regarding the organismal status of a brain-dead patient. Moreover, the theoretical biology concepts of an organism are very distant from the view on an organism that appears by way of bioethicists theorizing on death. We conclude that if death is to be understood as the cessation of an organism, there is no single correct answer to the question of whether a brain-dead patient is alive or dead. (shrink)

We are occasionally responsible for our beliefs. But is this doxastic responsibility analogous to any non-attitudinal form of responsibility? What I shall call the consequential conception of doxastic responsibility holds that the kind of responsibility that we have for our beliefs is indeed analogous to the kind of responsibility that we have for the consequences of our actions. This article does two things, both with the aim of defending this somewhat unsophisticated but intuitive view of doxastic responsibility. First, it emphasizes (...) the advantage of preserving, as the consequential conception does, the analogy with the non-attitudinal realm, i.e., with the realm of actions and their consequences. Second, this article regiments the most important objections to the consequential conception and answers them. The upshot is that there are no serious drawbacks to the consequential conception. There is, therefore, no reason not to favour it over accounts of doxastic responsibility that do not preserve the analogy with the non-attitudinal realm. (shrink)

Can aesthetic judgements legitimately be linked to the success of scientific theories? I suggest that a satisfactory answer to this question should account for the persistent attraction that aesthetic considerations seem to have for scientists, while also explaining the apparent instability of the link between the beauty of a theory and its truth. I argue that two widespread tendencies in the literature, Pythagorean and subjectivist approaches, have difficulties meeting this twofold challenge. I propose a Kantian conception of aesthetic judgements as (...) second‐order considerations, related to our own intellectual capacities for making sense of the world, and argue that it fares better. (shrink)

This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...) properties as causally efficient powers, analogous to properties like fragility or poisonousness. To show how such a view can be made ontologically respectable, I draw on recent ‘dispositionalist’ accounts of powers in philosophical metaphysics. I then offer two arguments in favour of this view. First, the view matches the phenomenology of aesthetic judgement. Second, the view offers an explanation of how it is that critics can demand agreement with their aesthetic judgements. (shrink)