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  1. Diversity-in-Unity: Art Criticism in Conversation.Joseph Kassman-Tod - 2024 - British Journal of Aesthetics 64 (4):521-542.
    What is it for art-critical conversation to be productively and appropriately responsive to a work of fine art? Broadly, contemporary work on the nature and purpose of aesthetic discourse tends to prioritize one of two poles: the need for agreement in judgement and/or sensibility, and the flourishing of individuality through aesthetic response. I propose that these alternatives each express the legacy of Kantian and Schillerian thought, respectively. Furthermore, I argue that a favourable approach is available if we look to Friedrich (...)
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  • Epistemic practices: A unified account of epistemic and zetetic normativity.Will Fleisher - forthcoming - Noûs.
    This paper presents the epistemic practices account, a theory about the nature of epistemic normativity. The account aims to explain how the pursuit of epistemic values such as truth and knowledge can give rise to epistemic norms. On this account, epistemic norms are the internal rules of epistemic social practices. The account explains four crucial features of epistemic normativity while dissolving some apparent tensions between them. The account also provides a unified theory of epistemic and zetetic normativity.
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  • Remote Art and Aesthetics: An Introduction.Ancuta Mortu, Jakub Stejskal & Mark Windsor - 2024 - British Journal of Aesthetics 64 (3).
    This introduction to the special issue of the British Journal of Aesthetics, ‘Remote Art: Engaging with Art from Distant Times and Cultures’, presents the notion of art’s remoteness in the context of debates about inter-cultural diversity. It discusses the various aspects of remoteness, how it figures in the individual contributions to the issue, and suggests possible avenues for future scholarship.
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  • Aesthetic selves as objects of interpersonal understanding.Nicholas Wiltsher - 2024 - Philosophical Explorations 27 (2).
    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’. (...)
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  • Consciousness is Sublime.Takuya Niikawa - 2022 - Ergo: An Open Access Journal of Philosophy.
    Does consciousness have non-instrumental aesthetic value? This paper answers this question affirmatively by arguing that consciousness is sublime. The argument consists of three premises. (1) An awe experience of an object provides prima facie justification to believe that the object is sublime. (2) I have an awe experience about consciousness through introspecting three features of consciousness, namely the mystery of consciousness, the connection between consciousness and well-being, and the phenomenological complexity of consciousness. (3) There is no good defeater of the (...)
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  • Non-Monotonic Theories of Aesthetic Value.Robbie Kubala - forthcoming - Australasian Journal of Philosophy.
    Theorists of aesthetic value since Hume have traditionally aimed to justify at least some comparative judgments of aesthetic value and to explain why we thereby have more reason to appreciate some aesthetic objects than others. I argue that three recent theories of aesthetic value—Thi Nguyen’s and Matthew Strohl’s engagement theories, Nick Riggle’s communitarian theory, and Dominic McIver Lopes’ network theory—face a challenge to carry out this explanatory task in a satisfactory way. I defend a monotonicity principle according to which the (...)
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  • Autonomy and Community in Kant's Theory of Taste.Jessica J. Williams - forthcoming - The Journal of Aesthetics and Art Criticism.
    In this paper, I argue that Kant has a far more communitarian theory of aesthetic life than is usually acknowledged. I focus on two aspects of Kant’s theory that might otherwise be taken to support an individualist reading, namely, Kant’s emphasis on aesthetic autonomy and his characterization of judgments of taste as involving demands for agreement. I argue that the full expression of autonomy in fact requires being a member of an aesthetic community and that within such a community, judgments (...)
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  • The Geography of Taste.Dominic Lopes, Samantha Matherne, Mohan Matthen & Bence Nanay - 2024 - New York, NY: Oxford University Press.
    Aesthetic preferences and practices vary widely between individuals and between cultures. How should aesthetics proceed if we take this fact of aesthetic diversity, rather than the presumption of aesthetic universality, as our starting point? How should we theorize the cultural origins and cultural basis of aesthetic diversity? How should we think about the value and normativity of aesthetic diversity? In an effort to model what the turn toward diversity might look like in aesthetic inquiry, each author defends a different account (...)
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  • Aesthetic Blame.Robbie Kubala - 2024 - Journal of the American Philosophical Association 10 (4).
    One influential tradition holds that blame is a moral attitude: blame is appropriate only when the target of blame has violated a moral norm without excuse or justification. Against this, some have recently argued that agents can be blameworthy for their violation of epistemic norms even when no moral norms are thereby violated. This paper defends the appropriateness of aesthetic blame: agents can be blameworthy for their violation of aesthetic norms as such, where aesthetic norms are the norms of social (...)
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  • Autonomy and aesthetic valuing.Nick Riggle - 2024 - Philosophy and Phenomenological Research (I):391-409.
    Accounts of aesthetic valuing emphasize two constraints on the formation of aesthetic belief. We must form our own aesthetic beliefs by engaging with aesthetic value first-hand (the acquaintance principle) and by using our own capacities (the autonomy principle). But why? C. Thi Nguyen’s proposal is that aesthetic valuing has an inverted structure. We often care about inquiry and engagement for the sake of having true beliefs, but in aesthetic engagement this is flipped: we care about arriving at good aesthetic beliefs (...)
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  • The Ontology and Aesthetics of Genre.Evan Malone - 2024 - Philosophy Compass 19 (1):e12958.
    Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...)
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  • Aesthetic Experience as Interaction.Bence Nanay - 2024 - Journal of the American Philosophical Association 10 (4):715-727.
    The aim of this article is to argue that what is distinctive about aesthetic experiences has to do with what we do -- not with our perception or evaluation, but with our action and, more precisely, with our interaction with whatever we are aesthetically engaging with. This view goes against the mainstream inasmuch as aesthetic engagement is widely held to be special precisely because it is detached from the sphere of the practical. I argue that taking the interactive nature of (...)
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  • The Poets of Our Lives.Kenneth Walden - 2024 - Journal of Philosophy 121 (5):277-297.
    This article proposes a role for aesthetic judgment in our practical thought. The role is related to those moments when practical reason seems to give out, when it fails to yield a judgment about what to do in the face of a choice we cannot avoid. I argue that these impasses require agents to create, but that not any creativity will do. For we cannot regard a response to one of these problems as arbitrary or capricious if we want to (...)
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  • The Demands of Beauty: Kant on the Normative Force of Aesthetic Reasons.Jessica J. Williams - 2024 - Estetika: The European Journal of Aesthetics 61 (1):1-19.
    According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never compel us. In this paper, I develop a Kantian account of the normative force of aesthetic reasons. While Kant would likely agree that aesthetic reasons do not give rise to obligations, his account nevertheless gives us the resources for explaining how aesthetic reasons can still have more force than merely enticing reasons. This account appeals to the distinct normativity of aesthetic judgments on Kant's theory (...)
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  • Aesthetic Value and the Practice of Aesthetic Valuing.Nick Riggle - 2024 - The Philosophical Review 133 (2):113–149.
    A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. This article argues that (...)
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  • Legislating Taste.Kenneth Walden - 2023 - Philosophical Quarterly 73 (4):1256-1280.
    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 (...)
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  • Two Concepts of Groove: Musical Nuances, Rhythm, and Genre.Evan Malone - 2022 - Journal of Aesthetics and Art Criticism 80 (3):345-354.
    Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...)
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  • The Art of Immoral Artists.Shen-yi Liao - 2024 - In Carl Fox & Joe Saunders (eds.), Routledge Handbook of Philosophy and Media Ethics. Routledge. pp. 193-204.
    The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...)
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  • Convergence, Community, and Force in Aesthetic Discourse.Nick Riggle - 2021 - Ergo: An Open Access Journal of Philosophy 8 (47).
    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 (...)
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  • The concept of the aesthetic.James Shelley - 2017 - Stanford Encyclopedia of Philosophy.
    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 (...)
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  • Immoral Artists and Our Aesthetic Projects: A Commentary on Mary Beth Willard's Why It's OK to Enjoy the Work of Immoral Artists.Erich Hatala Matthes - 2022 - British Journal of Aesthetics 62 (4):517-525.
    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.
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  • Philosophy of Street Art: Identity, Value, and the Law.Andrea Lorenzo Baldini - 2022 - Philosophy Compass 17 (9):e12862.
    We are living in the era of street art. Since Nick Riggle’s pivotal work on the definition of street art, several philosophers have addressed issues in the philosophy of street art. The goal of this paper is to summarize the literature. I consider the following matters, which have been at the core of philosophical discussions on street art: demarcation, value, illegality, and the ethical foundation of intellectual property (IP) protection. In answering the question ‘What is street art?,’ philosophers have generally (...)
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  • Aesthetic Reasons, Aesthetic Value, and the Myth of the Aesthetic Meritocracy: A Reply to Erich Hatala Matthes.Mary Beth Willard - 2022 - British Journal of Aesthetics 62 (4):577-586.
    Matthes and I both hold that the central ethical harm of continuing to engage with the work of immoral artists lies in what doing so inadvertently expresses to others. (Matthes, 2021; Matthes, 2022; Willard, 2021; Willard, 2022). We also agree that there’s little wrong ethically with continuing to engage the work of immoral artists in private or within interpretive communities poised to place the ethical and the aesthetic in dialogue with each other. Matthes (2022, p. 523) notes that part of (...)
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  • (What) Do We Owe Beautiful Objects? A Case for Aesthetic Obligations.Elisabeth Schellekens - 2024 - British Journal of Aesthetics 64 (3):317-334.
    This paper has two main aims. The first is to examine our normative relations to artworks and cultural artefacts threatened by damage or destruction. The second aim is to develop an argument for the notion of aesthetic obligation, offering an alternative model of explanation of our normative relations to artworks and cultural artefacts which relies neither exclusively on the object of appreciation (‘object-oriented approach’) nor on the appreciating subject (‘subject-oriented approach’). Instead, an aesthetic obligation is held to be directed primarily (...)
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