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  1. Schiller on Freedom and Aesthetic Value: Part I.Samantha Matherne & Nick Riggle - 2020 - British Journal of Aesthetics 60 (4):375-402.
    In his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his (...)
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  • Desire and Aesthetic Pleasure.Neil Sinhababu - 2017 - Australasian Philosophical Review 1 (1):95-99.
    ABSTRACTMohan Matthen's ‘The Pleasure of Art’ considers a rich variety of psychological phenomena surrounding our experience of pleasure in aesthetic appreciation. I explain many of these phenomena in terms of desire. Often my explanations support and complement Matthen's account; but sometimes I account for the same phenomena in terms of different causal structures than he invokes, seeking a more unified psychological theory.
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  • Straddling the Senses of a Contested Term: A Comment on the Use of ‘Aesthetic’ in Mohan Matthen's ‘The Pleasure of Art’.James Phillips - 2017 - Australasian Philosophical Review 1 (1):90-94.
    ABSTRACTMatthen proposes a functional definition of art as that which is designed to elicit what he calls facilitating pleasure. While this definition has the air of a theory that unites disparate strands of aesthetic thought over the last several centuries, the linkages it assumes between pleasure and art require a support stronger than the historical polysemy of the contested term ‘aesthetic’. The co-existence of meanings within the tradition is not itself evidence that these meanings are philosophically co-ordinated. To define art (...)
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  • Pleasure of Art and Pleasure of Nature: A Response to Matthen.Jane Kneller - 2017 - Australasian Philosophical Review 1 (1):85-89.
    ABSTRACTI argue that by limiting the objects of genuine or purely aesthetic pleasure to the products of human artifice, Matthen wrongly excludes aesthetic pleasure in natural items. Cases of aesthetic reflection that yield the ‘facilitating pleasure’ he takes to be definitive of our experience of art regularly occur also in our aesthetic experience of nature. That is, many kinds of aesthetic appreciation of nature meet his criteria of ‘learned’ engagements that are ‘difficult’ and ‘costly’. Aesthetic appreciation of nature thus represents (...)
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  • A Complex of Pleasures: Comment on ‘The Pleasure of Art’ by Mohan Matthen.Paul Guyer - 2017 - Australasian Philosophical Review 1 (1):40-49.
    ABSTRACTMatthen's functionalist account of art and his activity-centred account of aesthetic pleasure are on the right track, but he should recognize the importance of emotional as well as cognitive engagement with art.
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  • Comments on Mohan Matthen's ‘The Pleasure of Art’.Cynthia A. Freeland - 2017 - Australasian Philosophical Review 1 (1):29-39.
    ABSTRACTThis paper examines Mohan Matthen's account of aesthetic pleasure. The first part explores implications of Matthen's notion of ‘fit’ between features of art objects and our pleasurable contemplation of them. Through historical comparisons with Plato and Dewey, I challenge his claim not to be offering a theory of aesthetic norms. The second part of my paper sketches how Matthen might address two important problems of contemporary aesthetics: the first concerning interpretation, and the second concerning genres of art that evoke negative (...)
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  • Art Forms Emerging: An Approach to Evaluative Diversity in Art.Mohan Matthen - 2020 - Journal of Aesthetics and Art Criticism 78 (3):303-318.
    An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...)
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  • Aesthetic Emotions.Jenefer Robinson - 2020 - The Monist 103 (2):205-222.
    This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions (...)
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  • Restorative Aesthetic Pleasures and the Restoration of Pleasure.Ryan Paul Doran - 2017 - Australasian Philosophical Review 1 (1):73-78.
    ABSTRACT: I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis aesthetic pleasure.
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  • Aesthetic Hedonism and Its Critics.Servaas Van der Berg - 2020 - Philosophy Compass 15 (1):e12645.
    This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...)
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  • The Value of Consciousness.Uriah Kriegel - 2019 - Analysis 79 (3):503-520.
    Recent work within such disparate research areas as the epistemology of perception, theories of well-being, animal and medical ethics, the philosophy of consciousness, and theories of understanding in philosophy of science and epistemology has featured disconnected discussions of what is arguably a single underlying question: What is the value of consciousness? The purpose of this paper is to review some of this work and place it within a unified theoretical framework that makes contributions (and contributors) from these disparate areas more (...)
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  • The Motivational Structure of Appreciation.Servaas van der Berg - 2019 - Philosophical Quarterly 69 (276):445-466.
    On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy between (...)
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  • On Liking Aesthetic Value.Keren Gorodeisky - forthcoming - Philosophy and Phenomenological Research.
    According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...)
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  • Constituents of Music and Visual-Art Related Pleasure – A Critical Integrative Literature Review.Marianne Tiihonen, Elvira Brattico, Johanna Maksimainen, Jan Wikgren & Suvi Saarikallio - 2017 - Frontiers in Psychology 8.
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  • Beauty, The Social Network.Dominic McIver Lopes - 2017 - Canadian Journal of Philosophy 47 (4):437-453.
    Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...)
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  • The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 53 (4):1-22.
    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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  • Value First: Comments on Mohan Matthen’s ‘The Pleasure of Art’.Keren Gorodeisky - 2017 - Australasian Philosophical Review 1 (1):79-84.
    While I welcome Mohan Matthen’s insistence that art is connected to aesthetic pleasure, I worry about his commitment to viewing pleasure as prior to, and constitutive of, the value of art. I raise my reservations by (i) dispelling his criticism of the reversed explanatory direction, and (ii) showing problems for his commitment. As an alternative, I offer an account of pleasure that explains it in terms of the independent value of art—an account that is free of the problems Matthen raises (...)
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