Are horror films immoral? Gianluca Di Muzio argues that horror films of a certain kind are immoral because they undermine the reactive attitudes that are responsible for human agents being disposed to respond compassionately to instances of victimization. I begin with this argument as one instance of what I call the Argument from Reactive Attitudes (ARA), and I argue that Di Muzio’s attempt to identify what is morally suspect about horror films must be revised to provide the most persuasive interpretation (...) of the ARA. I then argue that the ARA provides a compelling standard for evaluating the moral permissibility of creating and viewing horror films, yet I note that it is an exceedingly difficult practical task evaluating the risk that these films create for our reactive attitudes. My conclusion is that the ARA provides a useful way or orienting ourselves to the complicated details of evaluating the moral status of horror films. (shrink)

In this article I introduce a certain kind of anti-realist account of what makes a property essential to an object and defend it against likely objections. This account, which I call a ‘conferralist’ account, shares some of the attractive features of other anti-realist accounts, such as conventionalism and expressivism, but I believe, not their respective drawbacks.

Moral platonism, the claim that moral entities are both objective and prescriptive, is generally thought to be a dead end. In an attempt to defend a moderate form of moral platonism or more precisely platonism about values, I first argue that several of the many versions of this doctrine are not committed to ontological extravagances. I then discuss an important objection due to John McDowell and developed by Michael Smith, according to which moral platonism is incoherent. I argue that objectivism (...) is compatible with the claim that certain ways of being aware of values, namely those involving emotions, are motivating. (shrink)

Two common strategies have dominated attempts to account for the nature of taste. On the one side, we have an affectivist understanding of taste where aesthetic attribution has to do with the expression of a subjective response. On the other side, we find a non-affectivist approach according to which to judge something aesthetically is to epistemically track its main aesthetic properties. Our main argument will show that neither emotion nor perception can explain the nature of aesthetic taste single-handedly. In this (...) paper, our principal aim is to examine the relationship between perceptual discernment and emotional sensibility as we find it in the process of ascribing aesthetic qualities. Is it the nature of the specific aesthetic property in question which determines the way in which perception and emotion are balanced in aesthetic attribution, or is it, rather, something about how our sensory skills operate? One of the notions we would like to explore in greater detail in this context is the idea of attunement, or the way in which aesthetic agents can align themselves to the content of an artwork o in order to better grasp its content and significance. According to our proposed picture, the exercise of taste involves an adjustment of one’s emotional sensibility to the aesthetic character of o. From here, we will posit both emotional and perceptual training as part of an agent’s aesthetic education in her use of aesthetic terms. (shrink)

Realist essentialists face a prima facie challenge in accounting for our knowledge of the essences of things, and in particular, in justifying our engaging in thought experiments to gain such knowledge. In contrast, conferralist essentialism has an attractive story to tell about how we gain knowledge of the essences of things, and how thought experiments are a justified method for gaining such knowledge. The conferralist story is told in this essay.

Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction (...) with an undifferentiated category of taste, comes to be set apart from gustatory taste on account of its normativity and aspirations to objectivity. The paradox of taste, as found in Hume and Kant, is examined, and shown to be highly relevant to contemporary metaphysical debate within aesthetics. Specifically, this paper argues that both Realists and Anti-Realists rely more heavily than assumed on the idea of taste. (shrink)

The selection of papers in the 6th Volume of the ESPES journal focusus on the development, analyses and critique of Arnold Berleant’s ideas on aesthetic engagement, social aesthetics, negative aesthetics, and environmental aesthetics. These issues are aproached by researchers from various continents showing the inspirational potential of Berleant’s perspective, inviting metaphors, opening paths for individual developmet in the field of art philosophy and aesthetics.

Abstract Kant claims that the basis of a judgment of taste is a merely subjective representation and that the only merely subjective representations are feelings of pleasure or displeasure. Commentators disagree over how to interpret this claim. Some take it to mean that judgments about the beauty of an object depend only on the state of the judging subject. Others argue instead that, for Kant, the pleasure we take in a beautiful object is best understood as a response to its (...) qualities, and that, accordingly, feelings of pleasure or displeasure are no different from other representations, such as colors or smells. While I agree that the judgment of taste is best understood as asserting a claim about an object's qualities, I argue that the distinction Kant makes between feelings of pleasure or displeasure and other representations should not be ignored. I show that one's liking or disliking for an object is merely subjective in the sense that its significance depends on what one has made of oneself through one's aesthetic education. The judgment of taste, then, is merely subjective because one must first become the kind of person whose feelings have the right significance at the right time before one can determine whether an object's qualities make it beautiful. (shrink)

Aesthetics and Environment: Variations on a Theme is collection of essays that lends emphasis to, and in some cases sheds new light on, Arnold Berleant's distinctive approach to aesthetic theory. T...