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)

This is the Amsterdam Colloquium version of a paper in which I develop a lexical solution to some important puzzles recently discovered by Dilip Ninan, which highlight striking asymmetries between future- and past-directed talk. A central component of the solution is the idea that lexical meanings of predicates ought to include features that determine the type of evidence that is admissible for standard predications.

This paper develops and motivates an Expressivist theory of "experiential" talk and thought, focusing on speech acts and thoughts that contain taste predicates. According to this theory, one way for S to think that o tastes a way w is simply for o to taste w to S. When o tastes w to S (and, therefore, S thinks that o tastes w), S can express this thought, by saying that o tastes w. The speech act wherein S expresses the thought (...) that o tastes w, so understood, must be distinguished from the speech act wherein S says or asserts that S tastes w to them. This paper develops a formal model of these informal claims, and it argues that the resulting theory fits well with the linguistic data -- no worse than the best propositional theories when it comes to representing quantificational readings of attitude ascriptions, and strictly better than the best propositional theories when it comes to representing non-quantificational ("experiential") readings. (shrink)

Our main concern in this paper is the semantics of predicates of personal taste. However, in order to see these predicates in the right perspective, we had to broaden the scope to the wider class of relative gradable adjectives. We present an analysis of the meaning of these adjectives in the framework of update semantics. In this framework the meaning of a sentence is not identified with its truth conditions, but with its impact on people’s intentional states. In this respect, (...) an important characteristic of relative gradable adjectives is the interplay between their evaluative features and people’s expectations. The dynamic set-up also makes it possible to model the interpretation of a relative gradable adjective without supposing that the context always supplies a ‘cut-off’ point determining its application, and to deal in a pragmatic way with situations in which the Sorites paradox arises. (shrink)

This essay uses a puzzle about assertion and time to explore the pragmatics, semantics, and epistemology of future discourse. The puzzle concerns cases in which a subject is in a position to say, at an initial time t, that it will be that ϕ, but is not in a position to say, at a later time t′, that it is or was that ϕ, despite not losing or gaining any relevant evidence between t and t′. We consider a number of (...) approaches to the puzzle and defend the view that subjects in these cases lose knowledge simply by moving through time. (shrink)

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 (...) an alternative view, according to which aesthetic discourse expresses affective states of mind, analogously to how assertions express beliefs. It is because these affective states require first-hand experience that aesthetic discourse communicates that such acquaintance is at hand. The paper furthermore argues that the lack of an experience requirement for aesthetic belief ascriptions constitutes a problem for the kind of expressivist who claims that evaluative belief states are covert non-cognitive states. (shrink)

Aesthetic statements of the form ‘X is beautiful’ are evaluative; they indicate the speaker’s positive affective attitude regarding X. Why is this so? Is the evaluative content part of the truth conditions, or is it a pragmatic phenomenon (i.e. presupposition, implicature)? First, I argue that semantic approaches as well as these pragmatic ones cannot satisfactorily explain the evaluativity of aesthetic statements. Second, I offer a positive proposal based on a speech-act theoretical version of hybrid expressivism, which states that, with the (...) literal utterance of ‘X is beautiful’, we perform two illocutionary acts simultaneously, an assertive and an expressive one. I will specify this theory in detail and argue that it can satisfactorily account for the evaluative content of aesthetic statements. I will also discuss the advantages of the theory over other variants of expressivism in meta-aesthetics. (shrink)