You can be convinced that something is true but still desire to see it for yourself. A trusted critic makes some observations about a movie, now you want to watch it with them in mind. A proof demonstrates the validity of a formula, but you are not satisfied until you see how the formula works. In these cases, we place special value on knowing by what Sosa (2021) calls “firsthand insight” a truth that we might already know in some other (...) way such as by testimony, the balance of evidence, or proof. This phenomenon raises two questions. First, what is the nature of firsthand insight? Second, what value motivates us to pursue firsthand insight when other kinds of knowledge are readily available? In the two central parts of this paper, I develop answers to these questions. I argue that firsthand insight that a proposition is true is knowledge based on experience of what makes that proposition true, and I argue that desires for firsthand insight are motivated by concerns with alienation. In a concluding section, I briefly illustrate how the resulting view of the nature and value of firsthand insight might bear on broader topics in the theory of value. (shrink)

Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some of (...) its versions) is not threatened by their examples and arguments. (shrink)

In this paper, with reference to Vito Acconci’s Following Piece (1969) and Sophie Calle’s Take care of yourself (2007), I show that some works of conceptual art rely on exemplification to convey ideas, and I defend the following claims about those works. In the first place, I argue that the kinds of events and of objects they present us with are relevant for appreciating the views the works convey. In the second place, siding with Elisabeth Schellekens (2007) and Peter Goldie (...) (2007), I argue, contra James Young (2001), that those artworks can yield experiential knowledge. In the third place, I argue that those artworks also possess probatory value. Finally, I maintain that those artworks can be valuable instruments for the education of the emotions. (shrink)

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 (...) which their mental capacities for their everyday judgments are not deployed and makes their judgments more vulnerable to the problem of “filling in”. I provide empirical data of an experiment that implements musical stimuli, obtaining large effect sizes regarding the results obtained by Bartel, Mikalonytė and Dranseika. In addition, I argue that the results of three scenarios of the experiment conducted by Mikalonytė and Dranseika are suspicious of being influenced by presentation effects that favor the contextualist intuition that the composer is a relevant parameter in work-individuation. Formal and superficial aspects of the description of their cases would cause these effects. I supply empirical data of an experiment that neutralizes those effects, obtaining moderate and large effect sizes regarding the results of Mikalonytė and Dranseika. (shrink)

Sculpture has ancient origins and features prominently in virtually every art culture. In their introduction to this collective volume, the editors Kristin Gjes.