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.

Wittgenstein offers three objections to the idea of aesthetics as a branch of psychology: (i) Statistical data about people’s preferences have no normative force. (ii) Artistic value is not instrumental value, a capacity to produce independently identifiable – and scientifically measurable – psychological effects. (iii) While psychological investigations may bring to light the causes of aesthetic preferences, they fail to provide reasons for them. According to Wittgenstein, aesthetic explanations (unlike scientific explanations) are poignant synoptic representations of aspects of a work, (...) and the criterion of success of an aesthetic explanation is that it satisfies the addressee. He repeatedly remarked that they resemble philosophical explanations, which also try to dispel puzzlement or confusion. The difference, however, is that whereas in philosophy we deal with general conceptual problems, aesthetic explanations typically concern individual responses to particular works of art. (shrink)

Since at least Hume and Kant, philosophers working on the nature of aesthetic judgment have generally agreed that common sense does not treat aesthetic judgments in the same way as typical expressions of subjective preferences—rather, it endows them with intersubjective validity, the property of being right or wrong regardless of disagreement. Moreover, this apparent intersubjective validity has been taken to constitute one of the main explananda for philosophical accounts of aesthetic judgment. But is it really the case that most people (...) spontaneously treat aesthetic judgments as having intersubjective validity? In this paper, we report the results of a cross‐cultural study with over 2,000 respondents spanning 19 countries. Despite significant geographical variations, these results suggest that most people do not treat their own aesthetic judgments as having intersubjective validity. We conclude by discussing the implications of our findings for theories of aesthetic judgment and the purpose of aesthetics in general. (shrink)

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 (...) aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

In this Introduction we introduce the central themes of the Evaluative Perception volume. After identifying historical and recent contemporary work on this topic, we discuss some central questions under three headings: (1) Questions about the Existence and Nature of Evaluative Perception: Are there perceptual experiences of values? If so, what is their nature? Are experiences of values sui generis? Are values necessary for certain kinds of experience? (2) Questions about the Epistemology of Evaluative Perception: Can evaluative experiences ever justify evaluative (...) judgments? Are experiences of values necessary for certain kinds of justified evaluative judgments? (3) Questions about Value Theory and Evaluative Perception: Is the existence of evaluative experience supported or undermined by particular views in value theory? Are particular views in value theory supported or undermined by the existence of value experience? (shrink)

This is the most comprehensive book ever published on philosophical methodology. A team of thirty-eight of the world's leading philosophers present original essays on various aspects of how philosophy should be and is done. The first part is devoted to broad traditions and approaches to philosophical methodology. The entries in the second part address topics in philosophical methodology, such as intuitions, conceptual analysis, and transcendental arguments. The third part of the book is devoted to essays about the interconnections between philosophy (...) and neighbouring fields, including those of mathematics, psychology, literature and film, and neuroscience. (shrink)

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 (...) we give reasons in support of them; how best to capture the elusive contrast between an aesthetic attitude and a practical one; whether to define aesthetic experience according to its phenomenological or representational content; how best to understand the relation between aesthetic value and aesthetic experience. But questions of more general nature have lately arisen, and these have tended to have a skeptical cast: whether any use of ‘aesthetic’ may be explicated without appeal to some other; whether agreement respecting any use is sufficient to ground meaningful theoretical agreement or disagreement; whether the term ultimately answers to any legitimate philosophical purpose that justifies its inclusion in the lexicon. The skepticism expressed by such general questions did not begin to take hold until the later part of the 20th century, and this fact prompts the question whether (a) the concept of the aesthetic is inherently problematic and it is only recently that we have managed to see that it is, or (b) the concept is fine and it is only recently that we have become muddled enough to imagine otherwise. Adjudicating between these possibilities requires a vantage from which to take in both early and late theorizing on aesthetic matters. (shrink)

One important but infrequently discussed difficulty with expressivism is the attitude type individuation problem.1 Expressivist theories purport to provide a unified account of normative states. Judgments of moral goodness, beauty, humor, prudence, and the like, are all explicated in the same way: as expressions of attitudes, what Allan Gibbard calls “states of norm-acceptance”. However, expressivism also needs to explain the difference between these different sorts of attitude. It is possible to judge that a thing is both aesthetically good and morally (...) bad. While the realist can explain the difference by suggesting that each judgment makes reference to a different property (or set of properties), the expressivist cannot. She must show that what is expressed by the speaker is different in each case. This has proven to be difficult to do. (shrink)

Emotions are Janus‐faced. They tell us something about the world, and they tell us something about ourselves. This suggests that we might speak of a truth, or perhaps two kinds of truths of emotions, one of which is about self and the other about conditions in the world. On some views, the latter comes by means of the former. Insofar as emotions manifest our inner life, however, we are more inclined to speak of authenticity rather than truth. What is the (...) difference? We need to distinguish the criteria of correspondence or appropriateness suitable for authenticity from those that embody the criterion of truth. Furthermore there is also a question about the transitions – among states of mind, and between states of mind and behaviour – that emotions encourage. This realm of transitions concerns rationality. After sketching the relevant distinctions, I will endeavour to justify the view that emotions should be appraised in terms of all three terms. (shrink)

This paper raises puzzles concerning our grasp of others’ aesthetic selves. I first articulate a conception of an aesthetic self, understood as an autonomously adopted orientation to objects of aesthetic value, encompassing the embrace of aesthetic reasons and the qualitative appreciative states that follow. This articulation is motivated by the commonplace observation that people’s aesthetic identities are important to them. Given this importance, we might think it salutary to grasp other people’s aesthetic selves, under the general auspices of ‘interpersonal understanding’. (...) Given the conception of aesthetic selves, we might think that empathy is an appropriate way to do so. But, second, I argue that you can’t find out about another’s aesthetic self via empathy. We might instead think that aesthetic conversation is the way to grasp aesthetic selves. However, third, I argue that the aim of finding out about others’ aesthetic selves is at odds with the ostensible aims of aesthetic conversation, which are to do with effacing individuality and creating commonality. So aesthetic selves seem hard to grasp. I finally briefly canvass some ways of solving this problem, without settling on a firm answer, and consider how the thoughts might extend to practical identities more generally. (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)

My aesthetic judgements seem to make claims on you. While some popular accounts of aesthetic normativity say that the force of these claims is third-personal, I argue that it is actually second-personal. This point may sound like a bland technicality, but it points to a novel idea about what aesthetic judgements ultimately are and what they do. It suggests, in particular, that aesthetic judgements are motions in the collective legislation of the nature of aesthetic activity. This conception is recommended by (...) its ability to explain some important but otherwise recondite features of aesthetic practice and, more importantly, by allowing us to ground the normativity of aesthetic judgement in the familiar normativity of practice. It also offers a more systematic way of understanding the rivalry between the ideals of aesthetic universality and diversity. (shrink)

Philosophers often characterize discourse in general as aiming at some sort of convergence (in beliefs, plans, dispositions, feelings, etc.), and many views about aesthetic discourse in particular affirm this thought. I argue that a convergence norm does not govern aesthetic discourse. The conversational dynamics of aesthetic discourse suggest that typical aesthetic claims have directive force. I distinguish between dynamic and illocutionary force and develop related theories of each for aesthetic discourse. I argue that the illocutionary force of aesthetic utterances is (...) typically invitational because its dynamic force is influenced by a ‘communal’ norm. I draw on dynamic pragmatics to develop a formal account of this dynamic force that explains why invitation has pride of place in aesthetic conversation. It turns out that the end of aesthetic discourse is not convergence but a distinctive form of community, a kind of harmony of individuality, that is compatible with aesthetic disagreement. If this is right, then convergence theories of aesthetic and normative discourse, and of conversation in general, need to be revised. (shrink)

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of artistic expression. Restricting (...) the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

In this brief paper, I explain the pedagogical importance of the distinction between direct and indirect assessment methods.

Legal philosophers make a number of bold, contentious claims about the nature of law. For instance, some claim that law necessarily involves coercion, while others disagree. Some claim that all law enjoys presumptive moral validity, while others disagree. We can see these claims in at least three, mutually exclusive ways: (1) We can see them as descriptions of law’s nature (descriptivism), (2) we can see them as expressing non-descriptive attitudes of the legal philosophers in question (expressivism), or (3) we can (...) see them as practical claims about how we should view law or order our society (pragmatism). This paper argues that we should understand these claims in the pragmatist way, as claims about how we should view law or order society. (shrink)

Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...) the structure of being garish and being cacophonous. Finally, an explanation is given of how the issue of the structure of aesthetic properties bears on their reality and (presumed) response-dependence. (shrink)

Aesthetic internalism claims a link between judgement and motivation: aesthetic judgements bring with them motivations to act in characteristic ways. Critics object that there is a difference between merely liking something and judging it to be aesthetically good, and that it is our likings, not our aesthetic judgements, that motivate us. This paper develops a version of aesthetic internalism that can respond to this criticism. Wholehearted aesthetic judgements are characterized by stability, attention, and motivation. Making such judgements is an important (...) part of a good life, and so at least some aesthetic judgements are motivating. So we have reason to think that this version of aesthetic internalism is true. This paper defends wholehearted aesthetic internalism against objections, and assesses an argument from aesthetic internalism to aesthetic non-cognitivism. While wholehearted aesthetic internalism can only offer qualified support to non-cognitivism, it nonetheless offers a number of fruitful avenues for further work. (shrink)

For those of us who are sympathetic to the research program of cognitive science, it is especially useful to face the deepest and sharpest critic of that program. Charles Taylor, who defines himself as a ‘hedgehog’ whose ‘single rather tightly related agenda’ fits into a very ancient and rather elusive debate between naturalism and anti-naturalism, may well be that critic. My ambition in this paper is to distill Taylor’s central objection to the cognitive science approach to agency and the self (...) as it is expressed throughout Human Agency and Language. After trying to set out the core of this objection, I want to remark on some rather curious aspects of the dispute of which it is a part, and then sketch, in relation to one or two examples, what I take to be the most promising line of resistance to Taylor’s attack. I conclude with a proposal as to how Taylor may – narrowly – escape one logical consequence of his position, according to which he should stop knocking the cognitive science program and instead go to work building a robot. (shrink)

There is a really big, complicated educational question that sometimes we hear and that always needs addressing, rebuffing, monitoring, and advancing but this is never going to be the last word on the matter because many things can transform it: the claim that no student should graduate from his or her high school without an understanding of what art is.Lots of people express this sentiment but in different ways. The statement could not be any clearer in its purpose. It is (...) quite positive as a statement because it is not without moral worth for it is expressing a substantial social concern. Being a popular kind of pragmatic focus statement, it surely merits an educational response. By making this comment about art... (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)

I argue that principles need to be appealed to in criticism especially when critics deliberate and determine the consistency between their verdicts on individual artworks. Following Frank Sibley, we can take principles as identifying properties with inherently positive or negative polarities that can be reversed in interactions with other properties. I contend that we should understand the character of such principles as having ceteris paribus hedges that restrict the scopes of the principles to artworks in which the inherent polarities of (...) cited qualities are not undermined or reversed. This is to adopt Michael Strevens’ ‘narrowing’ approach to interpreting ceteris paribus clauses. A consequence of such hedges is that the conditions of application of critical principles—when certain polarities are not undermined or reversed—may be partly opaque and unknown. Unpacking the opaque truth conditions of such principles, then, helps to make sense of how critics go about working out the consistency between their verdicts. This view of critical principles is consistent with and even predicts Arnold Isenberg’s particularist intuition that verdicts can be directly perceived without the need to infer them from principles. After all, opaque truth conditions mean that sometimes critics may not know whether an inference from a principle to verdict is valid. Ultimately, this view of hedged principles helps to make sense of critical aesthetic practice and accords with both the generalist intuition that critical reasons, to be reasons, require principles and the particularist intuition that inferences to verdicts can be short-circuited by direct acts of perception. (shrink)

Through an analysis of critical reviews and other commentaries on the annual Turner Prize shortlist exhibitions, I examine a philosophical problem which has put into question the rational basis for evaluation in art criticism: the lack of any agreed criteria for the evaluation of artworks. This problem has been most often addressed within philosophical aesthetics through two contrasting approaches: the attempt to formulate evaluative criteria, and the denial that such criteria are either possible or necessary. My response to this meta-critical (...) issue is an interdisciplinary study, in the form of an analysis of published commentaries on the Turner Prize, that examines theories of critical evaluation against an empirical investigation of actual critical practice. The Turner Prize has a number of advantages as a case study. Extensive media coverage of the competition means that it is possible to study a wide range of sources intended for the art-going public, that contain a large body of examples of comparative critical evaluation, and as an annual event it offers the opportunity for both synchronic and diachronic analyses. Moreover, the regular presence of artists whose work has been characterised as ‘conceptual, ensures that many of the commentaries focus on an area of art that presents a particular challenge to aesthetic theory and critical practice. In order to develop a critique of criteria based approaches, the contrasting approaches to art criticism taken by Noel Carroll and Frank Sibley are explored within an analysis of the critical reasons given to justify evaluations of Turner Prize exhibits. Suggestions are offered for ways of developing alternative approaches, drawing upon theories of the aesthetic developed by Suzanne Langer and Kendall Walton. (shrink)

For those of us who are sympathetic to the research program of cognitive science, it is especially useful to face the deepest and sharpest critic of that program. Charles Taylor, who defines himself as a ‘hedgehog’ whose ‘single rather tightly related agenda’ fits into a very ancient and rather elusive debate between naturalism and anti-naturalism, may well be that critic. My ambition in this paper is to distill Taylor’s central objection to the cognitive science approach to agency and the self (...) as it is expressed throughout Human Agency and Language. After trying to set out the core of this objection, I want to remark on some rather curious aspects of the dispute of which it is a part, and then sketch, in relation to one or two examples, what I take to be the most promising line of resistance to Taylor’s attack. I conclude with a proposal as to how Taylor may – narrowly – escape one logical consequence of his position, according to which he should stop knocking the cognitive science program and instead go to work building a robot. (shrink)

What, if any, kind of inferential reasoning can be a legitimate source of justified aesthetic belief? Looking at deductive and inductive reasoning respectively, this paper concludes that only the latter can be formulated so that there is reason to accept the premises as true and thus justify the conclusion. This follows from considerations about the type of generalisations that the arguments rely on. Universal generalisations, on which the type of deductive reasoning under consideration relies, are always victim to counterexamples. Also, (...) they are incompatible with a reasonable conception of the relationship between an aesthetic property and its correlating set of non-aesthetic properties. The generalisations that inductive aesthetic reasoning relies on, however, evade the problems faced by deduction as well as are compatible and a natural complement to the common aesthetic practice of acquaintance having epistemic authority over reasoning. These considerations lead to the conclusion that inductive, while not deductive, aesthetic reasoning is a legitimate source for justified aesthetic belief. (shrink)

This pragmatic study addresses the question of the plural realities that emerge from perception, based on an empirical analysis of the tasting activity of wine amateurs and olfactory experts. Though they share the same requirement of rooting taste in the product under scrutiny, they also significantly differ regarding the constraints with which their tasting results have to comply: repeatability for experts’ tasting results, and activity contiunuation for amateurs. Both therefore foster the emergence of two contrasting realities: a stabilized one for (...) experts; an ‘un-stabilized’ one for amateurs. Both happen to fit with the ‘fiction’ and the ‘reference’ modes of existence of Latour’s inventory, which extends and relaunches the analysis of the coexistence of activities initiated by the works on ‘boundary objects’ some decades ago. Finally, the notion of taste is reinterpreted as a translation operator between tasting realities. (shrink)

"What Is Cognitive Access?" PDF. Behavioral and Brain Sciences 30 (2007 [published 2008]): 505. Brief comments on a paper of Ned Block's. "Mechanical Mind," a review of Mind as Machine: A History of Cognitive Science by Margaret Boden. Online Published Version . From American Scientist (2008): 76-81.

It is sometimes assumed that Kant’s claim that a judgement of taste is grounded in a pleasure ‘without concepts’ leaves little room for any credible account of critical judgements of art. I argue that even Kant’s conception of free (as opposed to dependent) beauty can provide the framework for an analysis of aesthetic judgements about art works. It is a matter of understanding what roles for concepts Kant prohibits in his analysis of pure judgements of taste: conceptual cognition must be (...) neither what gives rise to the subject’s pleasure nor part of the evidential basis for the subject’s judgement. But this does not entail that the subject encounters the object in a wholly ‘concept–free’ manner. Kant’s account of free beauty is quite different from Schopenhauer’s superficially similar theory, and is compatible with the thought that increased conceptual knowledge can enhance critical judgements of art. (shrink)

Noël Carroll proposes a generalist theory of art criticism, which essentially involves evaluations of artworks on the basis of their success value, at the cost of rendering evaluations of reception value irrelevant to criticism. In this article, I argue for a hybrid account of art criticism, which incorporates Carroll's objective model but puts Carroll-type evaluations in the service of evaluations of reception value. I argue that this hybrid model is supported by Kant's theory of taste. Hence, I not only present (...) an alternative theory of metacriticism, which has the merit of reinstating the centrality of reception value in art critics’ evaluations, but also show that, contrary to a common conception, Kant's aesthetic theory can house a fruitful account of art criticism. The benefit of this hybrid account is that, despite being essentially particularist, it should be appealing even to generalists, including Carroll. (shrink)

In this paper, I argue for a new conception of religious justifications which takes the performance of miracles as the paradigm of reasoning in religion. The paper has two parts: In the first part, I argue against Swinburne’s parity argument for the existence of God by showing that religious perceptions fit more comfortably among aspect perceptions, e.g., the perceptions of beauty and courage, than among our perceptions of objects and colors. In the second part of the paper I employ the (...) analogy between seeing God and seeing beauty and the moral features of an act to propose a performative and transformative conception of religious reasoning. I argue that an argument in religion is a performance which brings various facts or events into life in a particular manner, so that God may be seen in or through them. Any such performance through which God is seen may be properly called a "miracle". Thus, the performance of miracles, i.e., of acts that are directed at becoming the vehicles throu. (shrink)

Interpretive Reasoning. By Laurent Stern.

I argue that Kant’s aesthetic theory yields a fruitful theory of art criticism and that this theory presents an alternative both to the existing theories of his time and to contemporary theories. In this regard, my dissertation offers an examination of a neglected area in Kant scholarship since it is standardly assumed that a theory of criticism flies in the face of some of Kant’s most central aesthetic tenets, such as his rejection of aesthetic testimony and general objective principles of (...) taste. If art criticism is an enterprise of providing evaluations of artworks supported by reasons, then it is hard to see what the Kantian art critic can do for us. If I cannot defer to the critic’s judgment that she loved Blade Runner and there are no feasible general principles linking the depiction of futuristic cityscapes, or the accompaniment of a haunting minimalist soundtrack to the goodness of a film, then it does not seem to matter whether the critic communicates to me her evaluation of Blade Runner or supports her evaluation with descriptions of Blade Runner scenes. Nevertheless, the assumption that these Kantian tenets preclude the possibility of art criticism is mistaken and it is my aim to show how this can be. The project has two phases. In the first phase I develop a new interpretation of Kant’s theory of artistic beauty. In the second phase I make use of this interpretation to put forward a Kantian account of art criticism. Central to my interpretation is the notion that judgments of perfection, e.g., Blade Runner is an excellent neo-noir science fiction film, inform our aesthetic evaluations and receive support from descriptions of non-aesthetic properties of the film. It is precisely this underappreciated role of judgments of perception that I exploit in making room for Kantian art criticism. (shrink)

This article is concerned with the question of the proper place of substantial general metaphysics in aesthetics and the philosophy of art. For reasons articulated in writings from the 1950s, analytic aesthetics denies that there is any relation of dependence and regards the intrusion of metaphysics into reflection on art as not merely superfluous but also methodologically inappropriate. Against this I argue that analytic aesthetics in its circumscription of the bounds of the discipline is not metaphysically neutral, that it is (...) vulnerable to the challenge of scientific naturalism, and that a case for the necessity of metaphysics in aesthetics and the philosophy of art can be made on the grounds of the constitutive opacity of art and the aesthetic from the standpoint of ordinary consciousness. The analytic reception of Kant’s aesthetic theory, I argue, supports this conclusion. (shrink)