This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...) has rarely examined in depth the ontological structure of art categories, how they are generated and maintained, and how they function. This dissertation fills this gap. The proposal of this dissertation can be summarized as follows. Categories (especially genres) should be analyzed as clusters of rules that regulate the responses and behaviors of agents in the artworld. The visual mundaneness is a critical reason to consider Duchamp's "Comb" (1916) provocative, given the existence of the readymade as a set of rules that justifies such reasoning. The critical and appreciative practice of which categorization is a part is a social practice of making, declaring, proposing, reforming, and developing rules of appreciation. How we appreciate artworks, and how criticism guides our appreciation, is sensitive to how we categorize artworks. How we categorize artworks is sensitive to what categories have been set up in our community and which categories are active regarding each artwork. (shrink)

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 (...) to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)

Schiller’s essays on tragedy attempt to argue that tragic experience is ethically valuable by forging a connection with Kant’s conception of autonomy. Standard interpretations hold that the connection lies in the fact that tragedies depict characters (primarily the hero) exercising autonomy. This paper argues that Schiller also views the experience prompted by tragedy as itself involving autonomy. Drawing on Kant’s discussion of aesthetic “symbols”, Schiller holds that the audience members’ experience at the tragedy is isomorphic with the autonomous exercise of (...) practical reason. Only in this way, I argue, can we make sense of Schiller’s contention that tragedy actively cultivates freedom in its viewers. Additionally, the interpretation shows how Schiller can hold that tragedy yields a kind of cognition of transcendental freedom while maintaining Kantian strictures on noumenal knowledge. (shrink)

A dealbreaker, in the sense developed in this essay, is a relationship between a person's psychology and an aspect of an artwork to which they are exposed. When a person has a dealbreaking aversion to an aspect of a work, they are blocked from embracing the work's aesthetically positive features. I characterize dealbreakers, distinguish this response from other negative responses to an artwork, and argue that the presence or absence of a dealbreaker is in some cases an appropriate target of (...) moral evaluation. I then use the concept of dealbreakers to develop a new approach to the question of our moral obligations with respect to the work of immoral artists, arguing that there is no general obligation binding us to cultivate or eliminate a dealbreaking aversion to their work. I conclude by suggesting several other philosophical debates that could benefit from a focus on dealbreakers. (shrink)

Many people suspect it is morally wrong to watch the graphically violent horror films colloquially known as gorefests. A prominent argument vindicating this suspicion is the Argument from Reactive Attitudes (ARA). The ARA holds that we have a duty to maintain a well-functioning moral psychology, and watching gorefests violates that duty by threatening damage to our appropriate reactive attitudes. But I argue that the ARA is probably unsound. Depictions of suffering and death in other genres typically do no damage our (...) appropriate reactive attitudes, and until we locate a relevant difference between these depictions in gorefests and in other genres, we should assume that the depictions in gorefests do no damage. I consider and reject three candidate differences: in artistic merit, meaningfulness, and audience orientation. Until genre skeptics identify a relevant difference, we should accept the taste for gory fictions as we would any other morally innocuous variation in taste. (shrink)

In this paper, I identify and provide an explanation for a heretofore unrecognized puzzle in feminist aesthetics and the philosophy of horror. Many horror movie fans have an aversion to rape scenes. This is puzzling because genre fans are not equally bothered by the depiction of other types of violence and cruelty. I argue that we can make sense of this selective aversion by appeal to the notion of ‘distance’, which philosophers of horror use to explain why people are attracted (...) to horror movies in the first place. When we consume horror, we ‘distance’ ourselves from the scary things depicted, which allows other mechanisms to kick in that lead to overall enjoyment. I argue that ‘distance’ often collapses when viewers are confronted with depictions of rape because rape is common in real life and a gendered form of violence that is implicated in social injustice. (shrink)

In 2007, Song-Ming Ang initiated Guilty Pleasures, a series of listening parties dedicated to sharing beloved “bad songs” and facilitating critical discussions about complex desires and hierarchies of taste. In this article, I extend on these discussions and offer a theory of guilty pleasures. Informed by queer and critical approaches to affect and minor aesthetic categories, I argue that guilty pleasures are characterized not by a specific medium or style, but rather by their ability to evoke pleasure interrupted by a (...) meta-response of guilt. This experience is activated by the outmoded, saccharine, or naff qualities of an object. I contrast guilty pleasures with good-bad art, painful art, and objects that foster akrasia, and provide an extended examination of naff, another minor aesthetic category with roots in Polari that intersects aspects of camp, heteronormativity, and Lauren Berlant’s notion of “cruel optimism.” I ultimately argue that guilty pleasures are far from a simplistic category of low art enjoyed with indifference. Instead, I perceive guilty pleasures as always enjoyed with a degree of criticality or skepticism that is tethered to the beholder’s taste, life experiences, and values. (shrink)

In this article, I will first present a number of contemporary philosophical conceptions that offer various solutions to the “paradox of negative emotions” as a general problem of how one can enjoy art that involves painful emotions. Solutions presented include ambivalence and value judgments theories, compensatory theories, and theories of catharsis. Then the article highlights a number of modern empirical studies devoted to this paradox. Despite the fact that they contain methodological and substantive problems, and do not add up to (...) a coherent system, their results are valuable, since they challenge the possibility of a universal solution to the paradox. (shrink)

Current debates in food aesthetics are moving away from a focus on whether food is art, and worries about the subjectivity and objectivity of taste, and towards questions about food's aesthetic properties, the cultural and social significance of food, our modes of aesthetic engagement with food, and issues involving cultural appropriation and the authenticity of dishes.

It is a noteworthy disanalogy between contemporary ethics and aesthetics that the fitting-attitude account of value, so prominent in contemporary ethics, sees comparatively little play in aesthetics. The aim of this paper is to articulate what a systematic fitting-attitude-style framework for understanding aesthetic value might look like. In the bulk of the paper, I sketch possible fitting-attitude-style accounts of three central aesthetic values – the beautiful, the sublime, and the powerful – so that the general form of the framework come (...) through. (shrink)

There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...) broadly, how can there be works of art whose very success requires the experience of boredom? Our goal in this paper is threefold. After offering a brief survey of kinds of boring art, we: i) derive a set of questions that we argue constitutes the philosophical problem of boring art; ii) elaborate an empirically informed theory of boredom that furnishes the philosophical problem with a deeper sense of the affect at the heart of the phenomenon; and iii) conclude by offering and defending a solution to the problem that explains why and how artworks might wish to make the experience of boredom key to their aesthetic and artistic success. (shrink)

The commentaries by Contesi, Hardcastle, Pismenny, and Gallegos pose pressing questions about the nature of boredom, frustration, and anticipation. Although their questions concern specific claims that I make in Propelled, they are of broad philosophical interest for, ultimately, they pave the way for a better understanding of these three psychological states. In my responses to the commentators, I clarify certain claims made in Propelled; provide additional support for my understanding of frustration; articulate the relationship between effort and value; defend the (...) claim that boredom is an emotion and discuss its formal object; and finally, consider the relationship between boredom (ordinarily understood) and deep or profound boredom. I am grateful to the commentators for engaging with Propelled. (shrink)

Les paradoxes de l’horreur et de la tragédie posent la question de savoir si, et comment, il peut être rationnel de s’exposer intentionnellement, comme nous le faisons, à des œuvres fictionnelles qu’on qualifie parfois de « douloureuses ». J’entreprends de résoudre ces paradoxes en remettant en question l’idée de valence intrinsèque des émotions sur laquelle ils sont fondés et en expliquant pourquoi les émotions dirigées vers des fictions ne sont jamais désagréables ou déplaisantes, mais sont au contraire hédoniquement positives. Il (...) est donc rationnel de s’exposer aux œuvres qui les suscitent. (shrink)

ABSTRACT Kierkegaard seeks to inspire transformations. His aim is to get us to devote our lives to God or the Good rather than our own personal enjoyment – to abandon the aesthetic life in favour of the ethical or religious one. Drawing on Laurie Paul and Agnes Callard’s recent work, I maintain that two obstacles stand in Kierkegaard’s way. First, transformations involve adopting a new perspective on the world, one we cannot fully grasp ahead of time. Second, transformations also involve (...) coming to care about something we do not yet care about. On my interpretation, Kierkegaard sees art, especially literature, as central to overcoming both obstacles. Good stories afford us a glimpse into what it would look and feel like to live in ways other than we currently do. In addition, they have the power to attract us to points of view we would ordinarily reject. (shrink)

European Journal of Philosophy, Volume 30, Issue 1, Page 3-16, March 2022.

To imagine is to form a mental representation that does not aim at things as they actually, presently, and subjectively are. One can use imagination to represent possibilities other than the actual, to represent times other than the present, and to represent perspectives other than one’s own. Unlike perceiving and believing, imagining something does not require one to consider that something to be the case. Unlike desiring or anticipating, imagining something does not require one to wish or expect that something (...) to be the case. // -/- Imagination is involved in a wide variety of human activities, and has been explored from a wide range of philosophical perspectives. Philosophers of mind have examined imagination’s role in mindreading and in pretense. Philosophical aestheticians have examined imagination’s role in creating and in engaging with different types of artworks. Epistemologists have examined imagination’s role in theoretical thought experiments and in practical decision-making. Philosophers of language have examined imagination’s role in irony and metaphor. // -/- Because of the breadth of the topic, this entry focuses exclusively on contemporary discussions of imagination in the Anglo-American philosophical tradition. (shrink)