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)

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 (...) justificatory force of my feeling of awe for the sublime of consciousness. To defend the third premise, I argue against two potential defeaters: The first is that most people do not regard consciousness as sublime. The second is that there do not seem to be physical properties that can ground the sublimity of consciousness. I conclude by emphasizing an important ethical implication of the thesis that consciousness is sublime, namely that it explains why even conscious subjects who cannot have valenced experiences deserve moral consideration. (shrink)

Philosophy and Phenomenological Research, EarlyView.

How do you know what you want? Philosophers have lately developed sophisticated accounts of the practical and doxastic knowledge that are rooted in the point of view of the subject. Our ability to just say what we are doing or what we believe—that is, to say so authoritatively, but not on the basis of observation or evidence—is an aspect of our ability to reason about the good and the true. However, no analogous route to orectic self-knowledge is feasible. Knowledge of (...) desire is distinctive in being a matter of our affective response to imagined prospects. An examination of this idea yields the following thesis: I know what I want just in case the object pursued in anticipation of a certain pleasure actually yields the anticipated pleasure. (shrink)

Both aestheticians and social epistemologists are concerned with disagreement. However, in large part, their literature has yet to overlap substantially in terms of discussing whether there are viable conceptions of aesthetic peerhood and what the significance of aesthetic peer disagreement might be as a result. This article aims to address this gap. Taking cues from both the aesthetics and social epistemological literature, it develops several conceptions of aesthetic peerhood that are not only constituted by various forms of cognitive peerhood and (...) affective peerhood, but which are also framed by a specific model of ordinary peer disagreement. For each of these conceptions, it suggests what the significance of ordinary aesthetic peer disagreement might be and how future discussions about it might proceed for both aestheticians and social epistemologists alike. (shrink)

The conception of disinterested pleasure is not only central to Kant’s theory of beauty but also highly influential in contemporary philosophical discourse about beauty. However, it remains unclear, what exactly disinterested pleasure is and what role it plays in experiences of beauty. This volume sheds new light on the conception of disinterested pleasure from the perspectives of both Kant scholarship and contemporary aesthetics. In the first part, the focus is on Kant’s theory of beauty as grounded on the conception of (...) disinterested pleasure. In the second part, disinterested pleasure is investigated in the light of contemporary debates on beauty. The third part is dedicated to the relation of theories of disinterested pleasure to the meta-aesthetical debate between realism and anti-realism. The volume clarifies the meaning, role, and implications of one of the most influential conceptions in traditional as well as contemporary approaches to beauty. (shrink)

ABSTRACT A long debate in aesthetics concerns the reasoned nature of criticism. The main questions in the debate ask whether criticism is based on reasons, whether critics communicate reasons for their audience’s responses, and, if so, how to understand these critical reasons. I argue that a great obstacle to making any progress in this debate is the deeply engrained assumption, shared by all sides of the debate, that reasons can only be either theoretical reasons or practical reasons. My aims are (...) to put pressure on this assumption that, if there are critical reasons, they must be either theoretical or practical, and to suggest that, if there are critical reasons, the most central among them are neither theoretical nor practical. (shrink)