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)

What is the value of intellectual playfulness? Traditional characterizations of the ideal thinker often leave out playfulness; the ideal inquirer is supposed to be sober, careful, and conscientiousness. But elsewhere we find another ideal: the laughing sage, the playful thinker. These are models of intellectual playfulness. Intellectual playfulness, I suggest, is the disposition to try out alternate belief systems for fun – to try on radically different perspectives for the sheer pleasure of it. But what would the cog-nitive value be (...) of such playfulness? I suggest that intellectual playfulness function as, at the very least, a kind of intellectual insurance policy against epistemic traps. An epistemic trap is a belief system that re-directs good-faith inquiry to bad results. Am epistemic trap manipulates background beliefs to fend off contrary evidence. For example, a conspiracy theory might include a set of beliefs about how the mainstream media has been taken over by some vicious cabal. Normal epistemic attempts will be captured by a well-wrought epistemic trap, because normal attempts at inquiry are guided by these background beliefs -- which set what counts as a plausible path to explore, and what is implausible or beyond the pale. And a clever epistemic trap will manipulate those background beliefs for ill effect. Intellectual playfulness, on the other hand, isn’t motivated by an epistemic interest in the truth, but in the sheer pleasure of intellectual exploration. Since intellectual playfulness isn’t oriented towards the truth, it won’t be constrained by an agent’s background beliefs – it won’t, for example, prefer to investigate apparently more plausible pathways. Intellectual playfulness offers an opportunity to escape from epistemic traps. But intellectual playfulness has its own limitations. It will only drive us to explore belief systems when that exploration is fun. What we need is an array of differently-motivated exploratory tendencies – empathy, curiosity, playfulness – each of which will each cover for the others’ limitations. (shrink)

Stanley Cavell’s account of aesthetic judgment has two components. The first is a feeling: the judge has to see, hear, ‘dig’ something in the object being judged, there has to be an ‘emotion’ that the judge feels and expresses. The second is the ‘discipline of accounting for [the judgment]’, a readiness to argue for one’s aesthetic judgment in the face of disagreement. The discipline of accounting for one’s aesthetic judgments involves what Nick Riggle has called a norm of convergence: the (...) judge aims to get one’s audience to taste see or hear what the judge tastes or sees or hears in the object being judged. Because of the unmistakable difficulty in reaching agreement in aesthetic judgment, Riggle has denied that aesthetic judgment requires a convergence norm and has proposed instead that it requires ‘a kind of harmony of individuality’ (which Riggle calls ‘vibing’). We argue that Cavell offers a version of the convergence norm that is distinct from those that Riggle criticizes, namely Kant’s demand for agreement and Andy Egan’s presupposition of similarity in dispositions in ‘non-defective’ aesthetic conversations. Cavell’s version of the convergence norm is ‘the hope of agreement’. One can hope that one’s audience will agree with one’s aesthetic judgments even when one isn’t in a position to demand agreement or to presuppose similarity in the dispositions that would make agreement more likely. Cavell’s distinct convergence norm avoids Riggle’s criticisms and contributes to a richer account of what’s going on when we disagree about aesthetic matters. (shrink)

We are often confronted with attempts to debunk our aesthetic tastes, like: “You only like jazz because you’re a pretentious hipster,” or, “Your love of the Western canon is just colonialism speaking.” Such debunking arguments often try to give a socio-historical accounting, intended to de-legitimize our tastes by showing that they arise from processes uninterested in real aesthetic value. One common version is the Art Populist debunk: that claims of aesthetic expertise in esoteric arts are really just elitist gatekeeping. Then (...) we have its mirror twin, the Art Expert debunk: that the populist love of simple arts serves the interests of profiteering entertainment corporations dispensing simplified slop. Suppose we accept one of these debunking argument. How are we supposed to got on? Are we supposed to not like the things we like, or force ourselves to choke down food we don’t enjoy? And suppose we accept both of these debunking arguments — what then? Are we supposed to simply give up our grip on beauty altogether? This is hard to imagine. Aesthetic debunking arguments have a harder time getting a grip on us, because aesthetic life involves a distinctively tight relationship between our felt aesthetic phenomena and our aesthetic judgments. Aesthetic life gives us phenomenal resistance to debunking arguments, when our felt loves lag behind our endorsed beliefs. I suggest a way through that offers a livable accommodation. We may be able to treat such debunking arguments, not as targeting the positive content of our taste, but as targeting the boundaries and limitations on our taste. That is, a Populist may not be able to debunk my deep felt love of opera, but they may be able to debunk my dismissal of dance-pop. In this case, we can take onboard both the Art Expert’s and the Art Populist’s debunking arguments, as targeting different varieties of narrowness and dismissal. These debunkings, then, move us, not towards aesthetic nihilism, but aesthetic expansionism. (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)

This is my reply to commentators in the symposium on my book, GAMES: AGENCY AS ART. The symposium features commentary by Thomas Hurka, Quill Kukla, and Alva Noe, and originally appeared in Analysis 81 (2).

Some lines of poetry rhyme to certain readers and not to others because of how their words are pronounced in different accents. And because the accent in which a person speaks is tied in significant ways to aspects of their social identity (such as their age, race, gender, and class), some poems rhyme in the voices of the privileged and not in the voices of the disadvantaged. This paper argues that appreciators can incur aesthetic harms when they are excluded from (...) participating in aesthetic goods that are more fully available to others, and that these harms can constitute aesthetic injustices when they are part of a wider pattern of socio-economic hardship. Poems that embody objectionable gatekeeping practices can thus perpetuate aesthetic injustice. (shrink)