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Switch to: References
Citations of:
How to Be a Pessimist about Aesthetic Testimony
Journal of Philosophy 108 (3):138-157 (2011)
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I propose that artworks represent a specific and homogeneous ontological kind, grounded in a common ontological core. I call this common core ‘non-universalizable embodied meaning’, and I argue that this common core explains how artworks unfold their ontological identity at the physical, intentional, and social levels on the basis of an original and irreducible mode of material embodiment and cultural emergence; this common core functions as the constitutive rule of art and institutes an axiological normativity, that is, normativity based on (...) |
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there seems to be some kind of asymmetry, at least in some cases, between moral testimony and non-moral testimony, between aesthetic testimony and non-aesthetic testimony, and between religious testimony and non-religious testimony. In these domains, at least in some cases, we object to deference, and for this reason expect people to form their beliefs on non-testimonial grounds, in a way that we do not object to deference in paradigm cases of testimonial knowledge. Our philosophical puzzle is therefore: what explains these (...) |
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The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just as (...) |
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The Acquaintance Principle is the principle according to which judgements concerning the aesthetic value of a work of art proffered by a critic must be based on the critic’s experience(s) or acquaintance with the work itself. The possible exception to this principle would be experiences obtained through other means of transmissibility, related in a particular way to the work in question, that can eventually provide the critic with an adequate basis for judging the artwork. However, recent philosophers claimed that some (...) |
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There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the supposed peculiar difficulty with aesthetic (...) |
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On the basis of the conception of aesthetic imagination derived from evolutionary psychology, cognitive psychology, and social cognitive neuroscience, today it is possible - and more appropriate - to invert the traditional view of anthropologists and archeologists that conceives the arts (from the early pre-historic arts) as mere instruments supporting religious beliefs, practices, and rituals. |
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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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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 (...) |
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This paper presses the programmatic idea that it is fruitful to think of genders as constituted by aesthetic rational social practices; in particular, that doing so can illuminate the relation between social role and self-identity. The first part of the paper describes rational social practices, and then interprets two social-role approaches to genders in light of that description. The interpretation places the two approaches in different domains of reason, one epistemic, one practical; this makes apparent the conceptual space for a (...) |
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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 (...) |
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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 (...) |
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Sentences containing predicates of personal taste (for example, ‘tasty’, ‘funny’) and aesthetic predicates (for example, ‘beautiful’) give rise to an acquaintance inference: They convey the information that speakers have first-hand experience with the object of predication and they can only be uttered appropriately if that is the case. This is surprisingly hard to explain. I will concentrate on aesthetic predicates, and firstly criticize previous attempts to explain the acquaintance phenomena. Second, I will suggest an explanation that rests on a speech (...) |
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In our life with science, we trust experts; we form judgements by inference from past evidence. We conduct ourselves very differently in the aesthetic domain. We avoid deferring to aesthetic experts. We form our judgements through direct perception of particulars rather than through inference. Why the difference? I suggest that we avoid aesthetic testimony and aesthetic inference, not because they’re unusable, but because we have adopted social norms to avoid them. Aesthetic appreciation turns out to be something like a game. (...) |
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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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A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. This article argues that (...) |
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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 (...) |
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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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I propose an account of aesthetic value, where aesthetic value lies in the process of aesthetic engagement: in our activity of perceiving, guiding our attention, interpreting, and otherwise wrestling with aesthetic objects. It also includes our social activities of engagement: arguing with each other, writing criticism, making top-ten lists. (This is a short summary of a view developed in greater detail elsewhere.). |
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This essay discusses Mary Beth Willard's _Why It's OK to Enjoy the Work of Immoral Artists_ and puts it into dialogue with my book _Drawing the Line._ In particular, I focus on the role of aesthetic projects in thinking about artistic immorality, and develop further thoughts on the public/private and individual/social distinctions with respect to our engagement with the arts. |
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In recent years, two competing methodological frameworks have developed in the study of the epistemology of philosophy. The traditional camp, led by experimental philosophy and its allies, has made inferences about the epistemology of philosophy based on the reactions, or intuitions, people have to works of philosophy. In contrast, multiple authors have followed the lead of Deutsch and Cappelen by setting aside experimental data in favor of inferences based on careful examination of the text of notable works of philosophy. In (...) |
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Many have offered moral objections to video games, with various critics contending that they depict and promote morally dubious attitudes and behaviour. However, few have offered moral arguments in favour of video games. In this chapter, we develop one such positive moral argument. Specifically, we argue that video games offer one of the only morally acceptable methods for acquiring some ethical knowledge. Consequently, we have (defeasible) moral reasons for creating, distributing, and playing certain morally educating video games. |
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In this paper we sketch a new version of aesthetic expressivism. We argue that one advantage of this view is that it explains various putative norms on the formation and revision of aesthetic judgement. We begin by setting out our proposed explananda and a sense in which they can be understood as governing the correct response to putative higher-order evidence in aesthetics. We then summarise some existing discussions of expressivist attempts to explain these norms, and objections raised to them. This (...) |
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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 (...) |
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Pessimists about aesthetic testimony argue that it is inappropriate to rely on other people’s aesthetic judgments in forming our own aesthetic beliefs. Some suggest that such reliance violates an epistemic norm, others that it violates a non-epistemic norm. In making their case, pessimists offer several arguments. They also put forward cases meant to elicit pessimist intuitions. In this paper, I claim that none of the main pessimist arguments succeeds against a plausible version of optimism, that is, the view that reliance (...) |
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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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What is the source of aesthetic knowledge? Empirical knowledge, it is generally held, bottoms out in perception. Such knowledge can be transmitted to others through testimony, preserved by memory, and amplified via inference. But perception is where the rubber hits the road. What about aesthetic knowledge? Does it too bottom out in perception? Most say “yes”. But this is wrong. When it comes to aesthetic knowledge, it is appreciation, not perception, where the rubber hits the road. The ultimate source of (...) |
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If, as Richard Wollheim says, the Acquaintance Principle is ‘a well-entrenched principle in aesthetics,’ it would be surprising if there were not something true at which those who have asserted it have been aiming. I argue that the Acquaintance Principle cannot be true on any traditional epistemic interpretation, nor on any usability interpretation of the sort Robert Hopkins has recently suggested. I then argue for an interpretation of the principle that treats acquaintance as the end to which judgments of aesthetic (...) |
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Can understanding be transmitted by testimony, in the same sense that propositional knowledge can be transmitted by testimony? Some contemporary philosophers – call them testimonial understanding pessimists – say No, and others – call them testimonial understanding optimists – say Yes. In this chapter I will articulate testimonial understanding pessimism (§1) and consider some arguments for it (§2). |
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In his fascinating new book Games: Agency as Art, Nguyen endorses an experiential requirement on aesthetic judgment: apt aesthetic judgment requires phenomenal experience. His own aesthetics of agency captures three phenomenally manifest and aesthetically significant harmonies (and corresponding disharmonies). But his view can be significantly extended to capture much more of the rich texture of human agency. In this discussion, I argue that emotions of agency, patterns of attention, and affordances all can be phenomenally experienced as aspects of agency, and (...) |
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In her BBC Reith Lectures on Trust, Onora O’Neill offers a short, but biting, criticism of transparency. People think that trust and transparency go together but in reality, says O'Neill, they are deeply opposed. Transparency forces people to conceal their actual reasons for action and invent different ones for public consumption. Transparency forces deception. I work out the details of her argument and worsen her conclusion. I focus on public transparency – that is, transparency to the public over expert domains. (...) |
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What is the primary intellectual aim of philosophy? The standard view is that philosophy aims to provide true answers to philosophical questions. But if our aim is to settle controversy by answering such questions, our discipline is an embarrassing failure. Moreover, taking philosophy to aim at providing true answers to these questions leads to a variety of puzzles: How do we account for philosophical expertise? How is philosophical progress possible? Why do job search committees not care about the truth or (...) |
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If a reliable testifier tells you that a song is beautiful or that an act is wrong, do you thereby have a reason to approve of the painting and disapprove of the agent's action? Many insist that we don’t: normative testimony does not give us reasons for affective attitudes like approval. This answer is often treated as a datum in the literatures on moral and aesthetic testimony. I argue that once we correct for a common methodological mistake in these literatures, (...) |
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The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...) |
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Aesthetic value empiricism claims that the aesthetic value of an object is grounded in the value of a certain kind of experience of it. The most popular version of value empiricism, and a dominant view in contemporary philosophical aesthetics more generally, is aesthetic hedonism. Hedonism restricts the grounds of aesthetic value to the pleasure enjoyed in the right kind of experience. But hedonism does not enjoy any clear advantage over a more permissive alternative version of value empiricism. This alternative is (...) |
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The article’s aim is to clear the ground for the idea of aesthetic archaeology as an aesthetic analysis of remote artifacts divorced from aesthetic criticism. On the example of controversies surrounding the early Cycladic figures, it discusses an anxiety motivating the rejection of aesthetic inquiry in archaeology, namely, the anxiety about the heuristic reliability of one’s aesthetic instincts vis-à-vis remote artifacts. It introduces the claim that establishing an aesthetic mandate of a remote artifact should in the first place be part (...) |
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Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...) |
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Many experiential properties are naturally understood as dispositions such that e.g. a cake tastes good to you iff you are disposed to get gustatory pleasure when you eat it. Such dispositional analyses, however, face a challenge. It has been widely observed that one cannot properly assert “The cake tastes good to me” unless one has tried it. This acquaintance requirement is puzzling on the dispositional account because it should be possible to be disposed to like the cake even if this (...) |
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I present a puzzle – the “puzzle of aesthetic testimony” – along with a solution to it that appeals to the impossibility of testimonial understanding. I'll criticize this solution by defending the possibility of testimonial understanding, including testimonial aesthetic understanding. |
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There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) |
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Consider the following three claims. (i) There are no truths of the form ‘p and ~p’. (ii) No one holds a belief of the form ‘p and ~p’. (iii) No one holds any pairs of beliefs of the form {p, ~p}. Irad Kimhi has recently argued, in effect, that each of these claims holds and holds with metaphysical necessity. Furthermore, he maintains that they are ultimately not distinct claims at all, but the same claim formulated in different ways. I find (...) |
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ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...) |
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I propose to study one problem for epistemic dependence on experts: how to locate experts on what I will call cognitive islands. Cognitive islands are those domains for knowledge in which expertise is required to evaluate other experts. They exist under two conditions: first, that there is no test for expertise available to the inexpert; and second, that the domain is not linked to another domain with such a test. Cognitive islands are the places where we have the fewest resources (...) |
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We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...) |
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As recorded in the Analects, Kongzi (Confucius) held that using punishment to influence ordinary citizens will do little to develop a sense of shame (chi 恥) in them. This term is usually taken to refer to a sense of shame described here as “ autonomous,” understood as a predisposition to feel ashamed when one does something wrong because it seems wrong to oneself, and not because others regard it as wrong or shameful. Historically, Confucian philosophers have thought a great deal (...) |
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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 (...) |
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The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...) |
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Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, aesthetic judgements may be unreasoned, (...) |
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According to some, taking moral testimony is a potentially decent way to exercise one's moral agency. According to others, it amounts to a failure to live up to minimal standards of moral worth. What's the issue? Is it conceptual or empirical? Is it epistemological or moral? Is there a ‘puzzle’ of moral testimony; or are there many, or none? I argue that there is no distinctive puzzle of moral testimony. The question of its legitimacy is as much a moral or (...) |
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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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