In this chapter, I present a comprehensive review of the literature on experimental philosophy of aesthetics.

This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.

John Martin Fischer’s Death, Immortality, and Meaning in Life puts forth a view that individual experiences could provide us with sources of endless fascination, motivation, and value if only we could live forever to continue to enjoy them. In this article I advocate for more caution about embracing this picture by pointing to three points of tension in Fischer's book. First, I argue that taking meaningfulness in life to be holistic is not compatible with the view immortal lives would be (...) recognizably humanlike. Next, I interrogate Fischer’s claim that that worries about boredom in immortal lives are predicated on the false view that our pursuits are compelling to us because we value them instrumentally, showing that he relies on a more controversial view of the value of our pursuits. Finally, I argue that Fischer’s naturalistic reinterpretation of the value of Near-Death experiences falls somewhat short of capturing their poignancy. Given Fischer’s seeming acknowledgment that what we get from an experience is sometimes ineffable, I argue that he ought to be less skeptical that a genuine Near-Death Experience would give the person experiencing it some (defeasible) evidence of the supernatural. (shrink)

A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that the experimental (...) results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support. (shrink)

This book develops a naturalistic aesthetic theory that accounts for aesthetic phenomena in mathematics in the same terms as it accounts for more traditional aesthetic phenomena. Building upon a view advanced by James McAllister, the assertion is that beauty in science does not confine itself to anecdotes or personal idiosyncrasies, but rather that it had played a role in shaping the development of science. Mathematicians often evaluate certain pieces of mathematics using words like beautiful, elegant, or even ugly. Such evaluations (...) are prevalent, however, rigorous investigation of them, of mathematical beauty, is much less common. The volume integrates the basic elements of aesthetics, as it has been developed over the last 200 years, with recent findings in neuropsychology as well as a good knowledge of mathematics. The volume begins with a discussion of the reasons to interpret mathematical beauty in a literal or non-literal fashion, which also serves to survey historical and contemporary approaches to mathematical beauty. The author concludes that literal approaches are much more coherent and fruitful, however, much is yet to be done. In this respect two chapters are devoted to the revision and improvement of McAllister’s theory of the role of beauty in science. These antecedents are used as a foundation to formulate a naturalistic aesthetic theory. The central idea of the theory is that aesthetic phenomena should be seen as constituting a complex dynamical system which the author calls the aesthetic as process theory. The theory comprises explications of three central topics: aesthetic experience, aesthetic value and aesthetic judgment. The theory is applied in the final part of the volume and is used to account for the three most salient and often used aesthetic terms often used in mathematics: beautiful, elegant and ugly. This application of the theory serves to illustrate the theory in action, but also to further discuss and develop some details and to showcase the theory’s explanatory capabilities. (shrink)

Subjective language has attracted substantial attention in the recent literature in formal semantics and philosophy of language Subjective meaning: alternatives to relativism, De Gruyter, Berlin, pp 1–19, 2016; Lasersohn in Subjectivity and perspective in truth-theoretic semantics, Oxford University Press, Oxford, 2017; Vardomskaya in Sources of subjectivity, Ph.D. thesis, University of Chicago, IL, 2018; Zakkou in Faultless disagreement: a defense of contextualism in the realm of personal taste, Vittorio Klostermann, Frankfurt a. M., 2019b). Most current theories argue that Subjective Predicates, which (...) express matters of opinion, semantically differ from ordinary predicates, which express matters of fact. We will call this view “SP exceptionalism”. This paper addresses SP exceptionalism by scrutinizing the behavior of SPs in attitude reports, which, as we will argue, significantly constrains the space of analytical options and rules out some of the existing theories. As first noticed by Stephenson :487–525, 2007a; Towards a theory of subjective meaning, Ph.D. thesis, Massachusetts Institute of Technology, Cambridge, MA, 2007b), the most prominent reading of embedded SPs is one where they talk about the attitude holder’s subjective judgment. As is remarked sometimes :327–352, 2009; Pearson in J Semant 30:103–154, 2013a), this reading is not the only one: embedded SPs may also talk about someone else’s, non-local, judgment. We concentrate specifically on such cases and show that non-local judgment is possible if and only if SPs are used within a DP that is outside main predicate position and that entire DP is read de re. We demonstrate that the behavior of SPs in attitude reports does not differ from that of ordinary predicates: it follows from general constraints on intersective modification and intensional quantification Ways of scope taking, Springer, Dordrecht, pp 183–215, 1997; Musan in On the temporal interpretation of noun phrases, Garland, New York, 1997; Percus in Nat Lang Semant 8:173–229, 2000; Keshet in Good intensions: paving two roads to a theory of the de re/de dicto distinction, Ph.D. thesis, Massachusetts Institute of Technology, Cambridge, MA, 2008). We argue that this unexceptional behavior of SPs in fact has unexpected consequences for SP exceptionalism. Precisely because SPs have been argued to be semantically different from ordinary predicates, not all theories correctly predict these less-studied data: some overgenerate :691–706, 2007; Sæbø 2009) and some undergenerate Proceedings of Sinn und Bedeutung, vol 11, pp 433–447, 2007; Pearson 2013a). Out of the currently available theories, only relativist accounts :643–686, 2005; MacFarlane 2014; Bylinina in J Semant 34, 291–331, 2017; Coppock in Linguist Philos 41:125–164, 2018) predict the right interpretation, and only that interpretation. We thus present a novel empirical argument for relativism, and, more generally, formulate a constraint that has to be taken into consideration by any view that advocates SP exceptionalism. (shrink)

Aestheticians generally agree that the aesthetic features of an object depend upon the non-aesthetic features of an object, and that this dependence can be captured by some formulation of the supervenience relation. I argue that the aesthetic depends upon the non-aesthetic in various and importantly different ways; that these dependence relations cannot be explained by supervenience; that appeals to supervenience create puzzles that aestheticians have neither fully appreciated nor resolved; and that appealing to various realization relations avoids these puzzles and (...) allows for a richer description of how the aesthetic depends upon the non-aesthetic. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such (...) as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

The notion of normativity has been key to an actualizing reading of the subjective universality that for Kant characterizes the aesthetic judgment. However, in the scholarly literature little discussion is made, somehow unsurprisingly, of what exactly we should understand by normativity when it comes to Kant’s aesthetics. Recent trends show indeed the tendency to take normativity very broadly to the point of nuancing most of its core meaning. Based on how we speak about normativity in aesthetics, we seem indeed to (...) have accepted that every kind of evaluative process is normative. I will argue that the sentimentalist elements of Kant's account call for a revision of its normative interpretations, for a better framing of its subjective universalism, and finally for a reconsideration of aesthetic normativity in favour of regulativity. (shrink)

Music theory has to reinvent itself. Century-long paradigms have to be revisited, and recent terminologies and concepts coming from other fields of music have to find room within the traditional frameworks, particularly in connection with electronic music. In this work, I make an attempt at depicting a framework that might turn useful to further advancements in music theory, by representing the relation between electroacoustic and traditional musics within a scenario dominated by the Philosophy of Language. The Philosophy of Language is (...) herein proposed as a possible philosophical asset to counterbalance some limits of Phenomenology, which has dominated the field of electroacoustic music since its appearance. Within this scenario, the work suggests the notions of "mimesis" and "cadence" as two valid terms to help creating a common ground between the two genres, discussing them in detail and proposing new interpretations for both concepts. (shrink)

Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...) evaluative and developmental practices in scientific theory selection as genuinely aesthetic, enlarging the scope of the goals of science. (shrink)

There are at least twelve major virtues of good theories: evidential accuracy, causal adequacy, explanatory depth, internal consistency, internal coherence, universal coherence, beauty, simplicity, unification, durability, fruitfulness, and applicability. These virtues are best classified into four classes: evidential, coherential, aesthetic, and diachronic. Each virtue class contains at least three virtues that sequentially follow a repeating pattern of progressive disclosure and expansion. Systematizing the theoretical virtues in this manner clarifies each virtue and suggests how they might have a coordinated and cumulative (...) role in theory formation and evaluation across the disciplines—with allowance for discipline specific modification. An informal and flexible logic of theory choice is in the making here. Evidential accuracy, according to my systematization, is not a largely isolated trait of good theories, as some have made it out to be. Rather, it bears multifaceted relationships, constituting significant epistemic entanglements, with other theoretical virtues. (shrink)

Once we have distinguished between beauty and aesthetic value, we are faced with the question of whether beauty is a thing of value in itself. A number of theorists have suggested that the answer might be no. They have thought that the pursuit of beauty is just the indulgence of one particular taste: a taste that has, for contingent historical reasons, been privileged. This paper attempts to resist a line of thought that leads to that conclusion. It does so by (...) arguing that there really are objective facts about beauty. To do this, the paper draws distinctions between objectivity and subjectivity, and between realism and anti-realism. It argues that, regarding attributions of beauty, we should be realists and objectivists. This is shown to be compatible with taking the semantic content of such attributions to vary between contexts. This form of context sensitivity is able to account of those features of beauty-attributions that have been taken as evidence for its subjectivity. (shrink)

This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to its aesthetic value) and Carolyn Korsmeyer's food moralism (the (...) view that moral flaws can only make food aesthetically worse). Instead, it argues for the position of food immoralism: sometimes a moral flaw can make an item of food aesthetically better. This chapter concludes by drawing out broader implications of this position for discussions on the ethics of food and discussions on the interaction between the moral and aesthetic values of art. (shrink)

In Beauty and Revolution in Science, James McAllister advances a rationalistic picture of science in which scientific progress is explained in terms of aesthetic evaluations of scientific theories. Here I present a new model of aesthetic evaluations by revising McAllister’s core idea of the aesthetic induction. I point out that the aesthetic induction suffers from anomalies and theoretical inconsistencies and propose a model free from such problems. The new model is based, on the one hand, on McAllister’s original model and (...) on further developments by Theo Kuipers in his “Beauty, a Road to the Truth?”. On the other hand, it is based on empirical findings about affection and emotion, and a naturalistic aesthetic theory. The new model is thus a naturalistic model with a wider explanatory range and much more internal consistency that McAllister’s. (shrink)

The paper offers a semantic and pragmatic analysis of statements of the form ‘x is beautiful’ as involving a double speech act: first, a report that x is beautiful relative to the speaker’s aesthetic standard, along the lines of naive contextualism; second, the speaker’s recommendation that her audience comes to share her appraisal of x as beautiful. We suggest that attributions of beauty tend to convey such a recommendation due to the role that aesthetic practices play in fostering and enhancing (...) interpersonal coordination. Aesthetic practices are driven by a disposition towards the attunement of attitudes and aesthetic recommendations contribute to forwarding such attunement. Our view is motivated by an attempt to satisfy the following set of desiderata: to account for the experiential nature of aesthetic judgments, disagreements in aesthetic debates, and the normative aspirations of aesthetic discourse, as well as to avoid appealing to error theory and realist ontological commitments. (shrink)

The subject-matter of this essay is the moral status of nature. This subject is dealt with in terms of normative reasons. The main question is if there are direct normative reasons to care for nature in addition to the numerous indirect normative reasons that there are for doing so. Roughly, if there is some such reason, and that reason applies to any moral agent, then nature has direct moral status as I use the phrase. I develop the notions of direct (...) normative reason and direct moral status in detail and identify and discuss the two main types of theory according to which nature has direct moral status: analogy-based nature-considerism and non-analogy-based nature-considerism. I argue for the plausibility of a particular version of the latter, but against the plausibility of any version of the former. The theory that is representative of AN claims that nature has direct moral status in virtue of possessing interests. Proponents of this theory fail to show that nature has interests of the kind that they reasonably want to ascribe to it, and that interests of this kind are morally significant. In contrast to AN, NN comes in a variety of different forms. I elaborate a version of NN according to which there are direct normative reasons to care for nature in virtue of its unique complexity, and its indispensability. I argue that even if these reasons should turn out not to apply to any moral agent, they are still genuine direct normative reasons: there is nothing irrational or misdirected about them. Finally, I show how the question of whether there are direct normative reasons to care for nature is relevant to private and political decision-making concerning nature. This is exemplified with a case from the Swedish mountain region. (shrink)

This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others would incline (...) objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animal-made art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)

Whether it is consciously focusing on a painting’s intricate layers of pigment or spontaneously being drawn to new layers of voices in a choral performance, attention appears essential to aesthetic experience. It is surprising, then, that the actual nature of attention is little discussed in aesthetic theory. Conversely, attention is currently one of the most vibrantly discussed topics in the philosophy of perception and in cognitive science. My aim is to demonstrate the need for and the value of aestheticians considering (...) such philosophical accounts in order to establish a clear understanding of ‘aesthetic attention’. I assess the existing aesthetic candidates against Wayne Wu’s characterization of attention as ‘selection for a task’. Finding that these candidates lack full explanatory force, I make the novel proposal that aesthetic attention is best characterized as ‘selecting for the sake of selection’. Finally, I suggest that both aesthetics and, more broadly, the philosophy of attention would benefit from paying aesthetic attention more attention. (shrink)

This thesis argues that the aesthetic character of some conceptual works of art can be determined by the possession of essential aesthetic properties. By discussing Peter Lamarque’s account of individual aesthetic essentialism one can suggest that conceptual works can be aesthetically investigated. Chapter I introduces the concept of the aesthetic and discusses Frank Sibley’s account of aesthetic concepts. Chapter II analyses in detail Sibley’s two fold relational character of aesthetic properties. Chapter III introduces Lamarque’s concept of aesthetic properties and it (...) also insists on a distinction between artistic and aesthetic properties. Chapter IV introduces a general account of essentialism and then discusses Lamarque’s new object theory. Chapter V investigates Lamarque’s weaker version of individual aesthetic essentialism and analyses the distinction between essential and inessential aesthetic properties. Finally, Chapter VI considers the aesthetics of conceptual art and argues that some conceptual pieces have essential aesthetic properties. The philosophical discussions are supported by appeal to many different works of art, from traditional works to contemporary works. I conclude that all conceptual works have aesthetic properties but mostly there are inessential properties. My suggestion at the end of this thesis is more radical. A close analysis identified essential aesthetic properties in some conceptual works of art and this contribute to the aesthetic character and value of these works. (shrink)

The turbulent times we live in, product of the COVID-19 pandemic, creating an ideal breeding ground for the proliferation of myths and conspiracy theories. These myths and theories are often popular on social media, defended by irresponsible politicians and published by the media in search of ratings or likes. But none of these meet the theoretical virtues that a good scientific theory should enjoy, in particular, none of these conspiracy theories about the disease caused by the SARS CoV-2 virus has (...) the attribute of being simple. Our purpose in this article is to illuminate how it is possible that simplicity, within the framework of theoretical virtues, can function as an epistemic criterion to reveal the irrational and, consequently, unscientific nature of myths and conspiracy theories. (shrink)