Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on aesthetic testimony (...) seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)

While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s aesthetic properties? The (...) second strand of the puzzle arises when we widen the scope of aesthetic experience. The very same aesthetic properties that seem to require training for their perception in artworks do not appear to require training to perceive in objects of everyday aesthetic appreciation and natural phenomena. In this paper I argue that a prominent extant attempt to explain how training is compatible with aesthetic perception—cognitive permeation—is an inadequate solution. I also develop a positive view of aesthetic perception that provides a unified solution to both strands of the puzzle. (shrink)

Pessimists about aesthetic testimony argue that it is inappropriate to rely on other people’s aesthetic judgments in forming our own aesthetic beliefs. Some suggest that such reliance violates an epistemic norm, others that it violates a non-epistemic norm. In making their case, pessimists offer several arguments. They also put forward cases meant to elicit pessimist intuitions. In this paper, I claim that none of the main pessimist arguments succeeds against a plausible version of optimism, that is, the view that reliance (...) on testimony in aesthetic matters is appropriate. However, I suggest also that pessimist intuitions have a certain pull that optimists must account for. My second task is to explain the force of pessimist intuitions by shedding new light on their source. (shrink)

Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...) we rely on them to fulfill their commitments to act for aesthetic reasons — rather than for, say, financial, social, or political reasons. We feel most thoroughly betrayed by an artist, not when they make bad art, but when they sell out. This teaches us something about the nature of trust in general. According to many standard theories, trust involves thinking the trusted to be cooperative or good-natured. But trust in aesthetic sincerity is different. We trust artists to be true to their own aesthetic sensibility, which might involve selfishly ignoring their audience’s needs. Why do we care so much about an artist’s sincerity, rather than merely trusting them to make good art? We emphasize sincerity when wish to encourage originality, rather than to demand success along predictable lines. And we ask for sincerity when our goal is to discover a shared sensibility. In moral life, we often try to force convergence through coordinated effort. But in aesthetic life, we often hope for the lovely discovery that our sensibilities were similar all along. And for that we need to ask for sincerity, rather than overt coordination. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (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)

It is not uncommon for art historians and philosophers of art to deride the kinds of aesthetic experiences tourists seek out by characterizing them as bowing to the will of the herd, succumbing to peer pressure, or simply seeking out what is popular. Two charges, in particular, tend to be levelled against tourists. The first, which I call the motivation problem, contends that tourists are motivated to seek out aesthetic experiences for the wrong kinds of reasons. The second, which I (...) call the appreciation problem, maintains that tourist tastes are aesthetically uninformed and are thus the inauthentic product of aesthetic luck. But there is a better way of thinking about aesthetic tourism, one that can capture both the tourist’s motivations and the role of aesthetic luck. I argue that aesthetic tourists, like many experts, subscribe to the acquaintance principle, and that doing so generates aesthetic obligations to their practical identity. The tourist, in the end, is no more – and no less – a product of aesthetic luck than the expert connoisseur. (shrink)

This paper substantiates a distinction, built out of Gricean resources, between two kinds of communicative act: showing and telling. Where telling that p proceeds by recruiting an addressee’s capacity to recognize trustworthy informants, showing does not. Instead, showing proceeds by presenting an addressee with a consideration that provides reason to believe that p (other than the reason provided by an informant’s credibility), and so recruits their capacity to respond to those reasons. With this account in place, the paper defends an (...) account of one way in which authors can show their readers that certain moral states of affairs obtain both inside, and outside of, their fictions. It is argued, moreover, that this kind of showing gives addressees access to more than just reasons for moral belief–it also gives them access to the sorts of reasons that enable agents to increase their moral understanding. In virtue of these latter capacities, the showing identified is a way of communicating about morality that is markedly different from the sort of moral testimony that many philosophers have been increasingly interested in of late. (shrink)

This essay discusses Mary Beth Willard's _Why It's OK to Enjoy the Work of Immoral Artists_ and puts it into dialogue with my book _Drawing the Line._ In particular, I focus on the role of aesthetic projects in thinking about artistic immorality, and develop further thoughts on the public/private and individual/social distinctions with respect to our engagement with the arts.

Though much of what we learn about the world comes from trusting testimony, the status of aesthetic testimony – testimony about aesthetic value – is equivocal. We do listen to art critics but our trust in them is typically only provisional, until we are in a position to make up our own mind. I argue that provisional trust (but not full trust) in testimony typically allows us to develop and use aesthetic understanding (understanding why a work of art is valuable, (...) or similar); and aesthetic understanding is an essential component of aesthetic virtue. Aesthetic virtue is the orientation of a whole person towards aesthetic value and aesthetic reasons, through action, non‐cognitive and cognitive attitudes. The ideal (aesthetically virtuous) way to make aesthetic judgements is through your own aesthetic understanding. (shrink)

Is it ever aesthetically permissible to engage in acts of cultural appropriation? This paper shows how recent work on aesthetic normativity can help answer this question. Drawing on the work of Lopes and McGonigal, I argue that in many cases those who engage in cultural appropriation act against their aesthetic reasons. Lopes and McGonigal advocate for externalist accounts of aesthetic reasons according to which whether or not an agent has an aesthetic reason to act depends on whether or not their (...) action will be an aesthetic achievement. Employing this framework, I argue that insofar as acts of cultural appropriation are seldom aesthetic achievements, many agents who engage in culturally appropriative aesthetic activities act against their aesthetic reasons. (shrink)

Many philosophers believe that aesthetic testimony can provide aesthetic knowledge. This leaves us with the question: why does getting aesthetic knowledge by experience – by seeing a painting up close, or witnessing a performance first-hand – nevertheless seem superior to aesthetic testimony? I argue that it is due to differences in their epistemic value; in the diversity of epistemic goods each one provides. Aesthetic experience, or the experience of art or other aesthetic objects, affords multiple, distinctive epistemic goods whereas aesthetic (...) testimony affords less. In particular, it provides aesthetic knowledge of truths, a kind of propositional knowledge, as well as aesthetic knowledge of things, a kind of non-propositional knowledge. Although aesthetic experience is superior because it has more epistemic value, this doesn’t mean that aesthetic testimony provides weaker justification for aesthetic belief than aesthetic experience; the difference is evaluative, not normative. In this way, we can explain a key pessimistic intuition about aesthetic testimony – that it is inferior to aesthetic experience – whilst preserving the optimistic view that aesthetic testimony makes aesthetic knowledge available to others. The superior epistemic value of first-hand aesthetic experience is compatible with a number of important observations about aesthetic testimony, including the importance of aesthetic trust. (shrink)

Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (in some of (...) its versions) is not threatened by their examples and arguments. (shrink)