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This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...) |
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Theorists of aesthetic value since Hume have traditionally aimed to justify at least some comparative judgments of aesthetic value and to explain why we thereby have more reason to appreciate some aesthetic objects than others. I argue that three recent theories of aesthetic value—Thi Nguyen’s and Matthew Strohl’s engagement theories, Nick Riggle’s communitarian theory, and Dominic McIver Lopes’ network theory—face a challenge to carry out this explanatory task in a satisfactory way. I defend a monotonicity principle according to which the (...) |
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This paper explores taste fragmentalism, a novel approach to matters of taste and faultless disagreement. The view is inspired by Kit Fine’s fragmentalism about time, according to which the temporal dimension can be constituted—in an absolute manner—by states that are pairwise incompatible, provided that they do not obtain together. In the present paper, we will apply this metaphysical framework to taste states. In our proposal, two incompatible taste states (such as the state of rhubarb’s being tasty and the state of (...) |
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Do epistemic and aesthetic values ever conflict? The answer might appear to be no, given that background knowledge generally enhances aesthetic experience, and aesthetic experience in turn generates new knowledge. As Keats writes, ‘Beauty is truth, truth beauty’ (Keats, 1996). Contra this line of thought, I argue that epistemic and aesthetic values can conflict when we over-rely on aesthetically enhancing background beliefs. The true and the beautiful can pull in different directions, forcing us to choose between flavours of normativity. |
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I propose a new account of the limits of aesthetic testimony. One of this new account's main claims is that, among the kinds of aesthetic cognitive achievements, it is useful to distinguish aesthetic understanding. In particular, I suggest that the aesthetic understanding of X involves an understanding of why X is aesthetically valuable. In turn, aesthetic understanding is essentially connected to the deployment of aesthetic concepts. Given the fine-grained structure of some of these concepts, certain forms of testimony are not (...) |
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In the restoration of art and artifacts there are three salient types of value to consider: relic, aesthetic, and practical. Relic value includes an object’s age, aura, originality, authenticity, and epistemic value. Aesthetic value is connected to how an object looks, sounds, or tastes. Practical value involves whether a thing can be used as designed—whether a book can be read, a building occupied, a car driven. I argue that while these are all legitimate values, it is impossible for a restorer (...) |
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This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the idea that (...) |
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The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted in this (...) |
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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 (...) |
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Intense aesthetic experiences are often described in terms of self-forgetfulness, where the perceiver becomes immersed in the aesthetic phenomenon to the extent of losing consciousness of being the subject of the experience. Although such experiences have been described from the early eighteenth century onwards, there is still a surprising lack of detailed investigation on the precise nature of aesthetic self-forgetfulness. What happens in this experience, and precisely what is the ‘self’ that is forgotten? Building on phenomenological theories of self-consciousness, I (...) |
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What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are explained by norms internal (...) |
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This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...) |
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An increasingly popular view in the philosophy of art is that some artworks are good artworks at least partly because they are achievements. This view was introduced to explain why two works that look the same, such as an original painting and a perfect copy, can differ in artistic merit. An achievement theory can say that the original is better because it is a greater achievement. Achievement theories have since been used to answer other questions, and they are now a (...) |
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Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) |
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In this paper, I argue that norms of artistic and aesthetic authenticity that prioritize material origins foreclose on broader opportunities for aesthetic experience: particularly, for the aesthetic experience of history. I focus on Carolyn Korsmeyer’s recent articles in defense of the aesthetic value of genuineness and argue that her rejection of the aesthetic significance of historical value is mistaken. Rather, I argue that recognizing the aesthetic significance of historical value points the way towards rethinking the dominance of the very norms (...) |
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Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...) |
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It seems obvious that phenomenally conscious experience is something of great value, and that this value maps onto a range of important ethical issues. For example, claims about the value of life for those in a permanent vegetative state, debates about treatment and study of disorders of consciousness, controversies about end-of-life care for those with advanced dementia, and arguments about the moral status of embryos, fetuses, and non-human animals arguably turn on the moral significance of various facts about consciousness. However, (...) |
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Call the view that it is possible to acquire aesthetic knowledge via testimony, optimism, and its denial, pessimism. In this paper, I offer a novel argument for pessimism. It works by turning attention away from the basis of the relevant belief, namely, testimony, and toward what that belief in turn provides a basis for, namely, other attitudes. In short, I argue that an aesthetic belief acquired via testimony cannot provide a rational basis for further attitudes, such as admiration, and that (...) |
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Unusability pessimism has recently emerged as an appealing new option for pessimists about aesthetic testimony—those who deny the legitimacy of forming aesthetic beliefs on the basis of testimony. Unusability pessimists argue that we should reject the traditional pessimistic stance that knowledge of aesthetic matters is unavailable via testimony in favour of the view that while such knowledge is available to us, it is unusable. This unusability stems from the fact that accepting such testimony would violate an important non-epistemic norm of (...) |
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It is frequently claimed that we can learn very little, if anything, about the aesthetic character of an artwork on the basis of testimony. Such disparaging assessments of the epistemic value of aesthetic testimony contrast markedly with our acceptance of testimony as an important source of knowledge in many other areas. There have, however, been a number of challenges to this orthodoxy of late; from those who seek to deny that such a contrast exists as well as attempts by those (...) |
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Introduced into the philosophical lexicon during the Eighteenth Century, the term ‘aesthetic’ has come to be used to designate, among other things, a kind of object, a kind of judgment, a kind of attitude, a kind of experience, and a kind of value. For the most part, aesthetic theories have divided over questions particular to one or another of these designations: whether artworks are necessarily aesthetic objects; how to square the allegedly perceptual basis of aesthetic judgments with the fact that (...) |
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The late Vivienne Westwood sketched a role for fashion that elevates it from the prosaic to the status of art, as something important, life-enhancing, and worthy of pursuit. Here, a philosophical treatment of Westwood’s vision of fashion that does justice to the artistic and life-enhancing value that fashion can realise is offered, using an emergent theory in contemporary analytic aesthetics. The virtue theory of art delineates the intrinsic worth of art in terms of the opportunities it provides for us to (...) |
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This paper discusses methodological issues of two recent experiments conducted by Christopher Bartel, and Elzė S. Mikalonytė and Vilius Dranseika, respectively, about the repeatability and individuation of musical works. I argue, first, that the reliability of their results about people’s intuitions in our everyday musical practices can be questioned due to the use of descriptions instead of musical stimuli of the works and performances involved in the cases tested. This procedure is prone to place participants in an epistemic situation in (...) |
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In this paper, I develop an account of appreciation. I argue that appreciation is an epistemic emotion in which the subject grasps the object in an affective way. The “grasping” and “feeling” components implies that in appreciation, we make sense of the object by having cognitive control over it, are motivated to maintain the valuable epistemic state of understanding, and experience the “aha” or “eureka” moment. This account offers a unified account of the many types of appreciation, including the aesthetic, (...) |
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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 (...) |
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Culture can be defined as “group typical behaviour patterns shared by members of a community that rely on socially learned and transmitted information”. Once thought to be a distinguishing characteristic of humans relative to other animals it is now generally accepted to exist more widely, with especially abundant evidence in non-human primates, cetaceans, and birds. More recently, cumulative cultural evolution has taken on this distinguishing role. CCE, it is argued, allows humans, uniquely, to ratchet up the complexity or efficiency of (...) |
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Value empiricists in aesthetics claim that we can explain the value of artworks by appeal to the value of the experiences they afford. I raise the question of the value of those experiences. I argue that while there are many values that such experiences might have, none is adequate to explaining the value of the works that afford the experiences. I then turn to defending the alternative to value empiricism, which I dub the object theory . I argue that if (...) |
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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 (...) |
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Supposing that talk of a distinctively artistic type of value is warranted, what separates it from other sorts of value? Any plausible answer must explain both what is of value and what is artistic about artistically valuable properties. Flaws with extant accounts stem from neglect of one component or the other; the account offered here, based on careful attention to actual art-critical practices, brings both together. The “value” component depends on the capacity of artworks to provide subjectively valuable experiences, while (...) |
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