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)

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is yes (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork's overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden, aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., "the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically prurient perspective on its female lead.'' Such a "non-summative" judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like "it's a 6/10" or "it's a pretty good movie!" I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people's character. (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)

Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s aesthetics is a promising resource for developing a model of aesthetic humility. Initially, however, this may seem like an unpromising starting point as Kant’s aesthetics might appear to promote aesthetic arrogance instead. In spite of this prima facie worry, I claim that Kant’s aesthetics provides an illuminating model of aesthetic humility that sheds light (...) not only on the self- and other-directed attitudes it involves, but also on how aesthetic humility can serve as a corrective to the vices of aesthetic arrogance and aesthetic servility. In addition to revealing the ways in which Kant’s aesthetics prizes humility rather than arrogance, I aim to show that the Kantian model of aesthetic humility can enrich our understanding of humility more generally and contribute to the on-going effort in aesthetics to analyse specific aesthetic virtues and vices. (shrink)

My aim is to discuss the impact of higher-order evidence on aesthetic appreciation. I suggest that this impact is different with respect to aesthetic beliefs and to aesthetic affective attitudes (such as enjoyment). More specifically, I defend the view that higher-order evidence questioning the reliability of one’s aesthetic beliefs can make it reasonable for one to revise those beliefs. Conversely, in line with a plausible account of emotions, aesthetic affective attitudes are not directly sensitive to this type of higher-order evidence; (...) they are sensitive only to those features of objects that make such attitudes (un)fitting. Thus, I argue, there are cases of non-defective recalcitrant aesthetic attitudes where the subject has both a non-defective, fitting aesthetic affective attitude and a reasonable belief questioning the fittingness of this attitude. I further discuss whether, in this type of case, the subject has decisive reasons to try to change her recalcitrant attitudes—say by trying to modify her aesthetic affective dispositions. My answer is negative. Even granting that subjects always have aesthetic reasons to try to avoid aesthetically unfitting attitudes, these can be outweighed by further reasons not to do so—perhaps including aesthetic reasons related to the construction of valuable aesthetic identities or to the value of aesthetic engagement. (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)

This is a paper about the nature of snobbery and the undermining import of a charge of snobbery. On my account, snobs sincerely attempt to identify and correctly evaluate the aesthetically relevant features of an object, but they get things wrong, and their getting things wrong is explained by the fact that they under-value that which they associate with being lower-class. We can see the need for this account by reflecting on examples, and can distinguish it from existing accounts of (...) snobbery by thinking about when and why evidence of snobbery constitutes higher-order evidence against one’s aesthetic judgements. Existing accounts either are consistent with snobs’ aesthetic judgements being flawless, and thus not undermined by evidence of snobbery, or they imply that the canonical reasoning-process for arriving at aesthetic judgements has been bypassed altogether. On my account, by contrast, snobbery does not bypass the canonical aesthetic reasoning-process but distorts it in systematic and predictable ways. (shrink)

Subjective predicates have two interpretive and distributional characteristics that have resisted a comprehensive analysis. First, the use of a subjective predicate to describe an object is in general felicitous only when the speaker has a particular kind of familiarity with relevant features of the object; characterizing an object as _tasty,_ for example, implies that the speaker has experience of its taste. Second, subjective predicates differ from objective predicates in their distribution under certain types of propositional attitude verbs. The goal of (...) this paper is to argue that these features can be explained in a uniform way and within a broadly truth-conditional approach to semantic content, given a view of subjective language as an essentially pragmatic, context-sensitive phenomenon. Specifically, we propose that what renders an issue subjective in discourse is speakers’ awareness of _counterstance contingency_: contingency relative to information states that represent alternative pragmatic stances. (shrink)

In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...) there are passages in Cavendish’s work that might seem to count against my reading—specifically, passages on disagreement in aesthetic judgement, on the power of beauty to elicit the passions, and on our inability to specify the nature of beauty—I show that, when situated against the background of Cavendish’s broader metaphysical and epistemological views, those passages in fact support the realist interpretation. (shrink)

Suppose I hear from a trusted friend that The Shining is scary. Believing them, I decide not to watch the film. Later, we're talking about the movie and I say, “The Shining is scary!” My assertion here is misleading and inappropriate—I misrepresent myself as having seen the film and judged whether it is scary. But why is this? In this paper, I clarify the scope of the observation, discuss existing explanations of it, and argue that they are all lacking. I (...) argue that the observation is best explained as a particular instance of a general norm which holds that authorities should make assertions about matters in their authority only if they have judged those matters for themselves. Along the way, I offer a theory of judgment which distinguishes it from mere belief. (shrink)

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is “yes” (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork’s overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., “the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically purient perspective on its female lead.” Such a “non-summative” judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like “it’s a 6/10” or “it’s a pretty good movie!” I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people’s character. (shrink)

In this introduction, I explain the notion of higher-order evidence and explore its bearing on aesthetic judgement. I start by illustrating how reflection on cases involving higher-order evidence engages with well-established concerns in aesthetics—specifically, how it might reveal tensions within and between widely recognized aesthetic ideals governing aesthetic judgement. Next, I show how attention to higher-order evidence in relation to aesthetic judgement might expose limitations or assumptions of theories in epistemology, where the nature and significance of higher-order evidence with respect (...) to belief is the focus of much recent attention. The aim is not to resolve the issues but to demonstrate the significance of higher-order evidence in aesthetics and, in doing so, encourage work on the topic in and across aesthetics and epistemology. (shrink)

Many philosophers believe that aesthetic testimony can provide aesthetic knowledge. This leaves us with the question: why does getting aesthetic knowledge by experience – by seeing a painting up close, or witnessing a performance first-hand – nevertheless seem superior to aesthetic testimony? I argue that it is due to differences in their epistemic value; in the diversity of epistemic goods each one provides. Aesthetic experience, or the experience of art or other aesthetic objects, affords multiple, distinctive epistemic goods whereas aesthetic (...) testimony affords less. In particular, it provides aesthetic knowledge of truths, a kind of propositional knowledge, as well as aesthetic knowledge of things, a kind of non-propositional knowledge. Although aesthetic experience is superior because it has more epistemic value, this doesn’t mean that aesthetic testimony provides weaker justification for aesthetic belief than aesthetic experience; the difference is evaluative, not normative. In this way, we can explain a key pessimistic intuition about aesthetic testimony – that it is inferior to aesthetic experience – whilst preserving the optimistic view that aesthetic testimony makes aesthetic knowledge available to others. The superior epistemic value of first-hand aesthetic experience is compatible with a number of important observations about aesthetic testimony, including the importance of aesthetic trust. (shrink)

Aesthetic concepts and conceptions are structured mental representations partly composed of phenomenal concepts. I defend this claim by appealing to contemporary accounts of concepts and to the current literature on phenomenal concepts. In addition, I discuss the relationship between aesthetic concepts and aesthetic understanding — an epistemic state at the centre of much work in contemporary epistemology.

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 simple knowledge norm of assertion holds that one may assert that p only if one knows that p. Turri :37–45, 2011) and Williamson both argue that more is required for epistemically permissible assertion. In particular, they both think that the asserter must assert on the basis of her knowledge. Turri calls this the express knowledge norm of assertion. I defend SKNA and argue against EKNA. First, I argue that EKNA faces counterexamples. Second, I argue that EKNA assumes an implausible (...) view of permissibility on which an assertion is epistemically permissible only if it is made for a right reason, i.e., a reason that contributes to making it the case that it is epistemically permissible to make that assertion. However, the analogous view in other normative domains is both controversial and implausible. This is because it doesn’t make it possible for one to act or react rightly for the wrong reason. I suggest that proponents of EKNA have conflated requirements for φ-ing rightly with requirements for φ-ing well. Finally, I argue that proponents of SKNA can explain the intuitive defectiveness of asserting on the basis of an epistemically bad reason, even when the asserters know the content of their assertion, by arguing that the asserters are epistemically blameworthy. (shrink)