In everyday language, the expression ‘guilty pleasure’ refers to instances where one feels bad about enjoying a particular artwork. Thus, one’s experience of guilty pleasure seems to involve the feeling that one should not enjoy this particular artwork and, by implication, the belief that there are norms according to which some aesthetic responses are more appropriate than others. One natural assumption would be that these norms are first and foremost aesthetic norms. However, this suggestion runs directly against recent findings in (...) experimental philosophy, according to which most people deny the existence of aesthetic norms. Through three studies, we investigated people’s experiences of guilty pleasures and the norms that underlay these experiences. We tentatively conclude that guilty pleasures are more often connected to one’s personal norms and social expectations than to properly aesthetic norms. (shrink)

Experimental philosophy has blossomed into a variety of philosophical fields including ethics, epistemology, metaphysics and philosophy of language. But there has been very little experimental philosophical research in the domain of philosophical aesthetics. Advances to Experimental Philosophy of Aesthetics introduces this burgeoning research field, presenting it both in its unity and diversity, and determining the nature and methods of an experimental philosophy of aesthetics. Addressing a wide variety of empirical claims that are of interest to philosophers and psychologists, a team (...) of authors from different disciplines tackle traditional and new problems in aesthetics, including the nature of aesthetic properties and norms, the possibility of aesthetic testimony, the role of emotions and moral judgment in art appreciation, the link between art and language, and the role of intuitions in philosophical aesthetics. Interacting with other disciplines such as moral psychology and linguistics, it demonstrates how philosophical aesthetics can integrate empirical methods and discover new ways of approaching core problems. Advances to Experimental Philosophy of Aesthetics is an important contribution to understanding aesthetics in the 21st century. (shrink)

Th e present article reports a series of experiments designed to extend the empirical investigation of folk metaethical intuitions by examining how different kinds of ethical disagreement can impact attributions of objectivity to ethical claims.

Moral psychologists have recently turned their attention to the study of folk metaethical beliefs. We report the results of a cross-cultural study using Chinese, Polish and Ecuadorian participants that seeks to advance this line of investigation. Individuals in all three demographic groups were observed to attribute objectivity to ethical statements in very similar patterns. Differences in participants’ strength of opinion about an issue, the level of societal agreement or disagreement about an issue, and participants’ age were found to significantly affect (...) their inclination to view the truth of an ethical statement as a matter of objective fact. Implications for theorizing about folk morality are discussed. (shrink)

If good taste is a virtue, then an account of good taste might be modelled on existing accounts of moral or epistemic virtue. One good reason to develop such an account is that it helps solve otherwise intractable problems in aesthetics. This paper proposes an alternative to neo-Aristotelian models of good taste. It then contrasts the neo-Aristotelian models with the proposed model, assessing them for their potential to contend with otherwise intractable problems in aesthetics.

We report the results of two studies that examine folk metaethical judgments about the objectivity of morality. We found that participants attributed almost as much objectivity to ethical statements as they did to statements of physical fact and significantly more objectivity to ethical statements than to statements about preferences or tastes. In both studies, younger participants attributed less objectivity to ethical statements than older participants. Females were observed to attribute slightly less objectivity to ethical statements than males, and we found (...) important interactions between attributions of objectivity and other factors, such as how strong participants’ moral opinions were and how much disagreement about the issue they perceived to exist within society. We believe our results have significant implications for debates about the nature of folk morality and about the nature of morality in general. (shrink)

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in sublime (...) effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition Paul Guyer conducts the reader through Burke's Enquiry, focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche. (shrink)

Kant is arguably the most influential modern philosopher, but also one of the most difficult. Roger Scruton tackles his exceptionally complex subject with a strong hand, exploring the background to Kant's work, and showing why the Critique of Pure of Reason has proved so enduring.

We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having shown (...) that the results do not support the main premise of the argument, we discuss the consequences for Aesthetic Realism and address possible objections to our study. (shrink)

This edition contains the thirty-nine essays included in Essays, Moral, and Literary, that made up Volume I of the 1777 posthumous Essays and Treatises on Several Subjects. It also includes ten essays that were withdrawn or left unpublished by Hume for various reasons. The two most important were deemed too controversial for the religious climate of his time. This revised edition reflects changes based on further comparisons with eighteenth-century texts and an extensive reworking of the index. - Publisher.

Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction (...) with an undifferentiated category of taste, comes to be set apart from gustatory taste on account of its normativity and aspirations to objectivity. The paradox of taste, as found in Hume and Kant, is examined, and shown to be highly relevant to contemporary metaphysical debate within aesthetics. Specifically, this paper argues that both Realists and Anti-Realists rely more heavily than assumed on the idea of taste. (shrink)

What is the point of art, and why does it matter to us human beings? The answer that I will give in this paper, following on from an earlier paper on the same subject, is that art matters because our being actively engaged with art, either in its production or in its appreciation, is part of what it is to live well. The focus in the paper will be on the dispositions—the virtues of art production and of art appreciation—that are (...) necessary for this kind of active engagement with art. To begin with, I will argue that these dispositions really are virtues and not mere skills. Then I will show how the virtues of art, and their exercise in artistic activity, interweave with the other kinds of virtue which are exercised in ethical and contemplative activity. And finally, I will argue that artistic activity affords, in a special way, a certain kind of emotional sharing that binds us together with other human beings. (shrink)

While Kant is perhaps best known for his writings in metaphysics and epistemology (in particular the Critique of Pure Reason of 1781, with a second edition in 1787) and in ethics (the Groundwork of the Metaphysics of Morals of 1785 and the Critique of Practical Reason of 1788), he also developed an influential and much-discussed theory of aesthetics. This theory is presented in his Critique of Judgment (Kritik der Urteilskraft, also translated as Critique of the Power of Judgment) of 1790, (...) a two-part work which deals successively with aesthetics and with the role of teleology (that is, appeal to ends or goals) in natural science and in our understanding of nature more generally. Although Kant's theory of teleology has traditionally been both less influential, and less widely discussed, than his aesthetic theory, its historical and philosophical importance is increasingly coming to be recognized. (shrink)

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to (...) pursue moral aims. (shrink)

Ethical disputes arise over differences in the content of the ethical beliefs people hold on either side of an issue. One person may believe that it is wrong to have an abortion for financial reasons, whereas another may believe it to be permissible. But, the magnitude and difficulty of such disputes may also depend on other properties of the ethical beliefs in question—in particular, how objective they are perceived to be. As a psychological property of moral belief, objectivity is relatively (...) unexplored, and we argue that it merits more attention. We review recent psychological evidence which demonstrates that individuals differ in the extent to which they perceive ethical beliefs to be objective, that some ethical beliefs are perceived to be more objective than others, and that both these sources of variance are somewhat systematic. This evidence also shows that differences in perceptions of objectivity underpin quite different psychological reactions to ethical disagreement. Apart from reviewing this evidence, our aim in this paper is to draw attention to unanswered psychological questions about moral objectivity, and to discuss the relevance of moral objectivity to two issues of public policy. (shrink)

Introduction -- Note on the texts -- An inquiry into the original of our ideas of beauty and virtue -- Treatise I -- An inquiry concerning beauty, order, & c. -- Treatise II -- An inquiry concerning the original of our ideas of virtue or moral good.

Recent research has investigated whether people think of their moral beliefs as objectively true facts about the world, or as subjective preferences. The present research examines variability in the perceived objectivity of different moral beliefs, with respect both to the content of moral beliefs themselves (what they are about), and to the social representation of those moral beliefs (whether other individuals are thought to hold them). It also examines the possible consequences of perceiving a moral belief as objective. With respect (...) to the content of moral beliefs, we find that beliefs about the moral properties of negatively valenced acts are seen as reliably more objective than beliefs about the moral properties of positively valenced acts. With respect to the social representation of moral beliefs, we find that the degree of perceived consensus regarding a moral belief positively influences its perceived objectivity. The present experiments also demonstrate that holding a moral belief to be objective is associated with a more ‘closed’ response in the face of disagreement about it, and with more morally pejorative attributions towards a disagreeing other person. (shrink)