The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

This book is a defense of modal realism; the thesis that our world is but one of a plurality of worlds, and that the individuals that inhabit our world are only a few out of all the inhabitants of all the worlds. Lewis argues that the philosophical utility of modal realism is a good reason for believing that it is true.

A flop is a picture that mirror reverses the original scene. Some flops are reversed copies. For instance, mirror reversal is systematic with technologies that require contact between a template and an imprint surface. Other flops are just pictures that have undergone the operation of flopping. For example, a slide that is inserted backwards into a projector is a flop.

Lake Tanganiyka has lefty and righty cichlid fish that show there can be natural selection for a trait over its mirror image counterpart.This raises the question Can there be biological selection of a whole organism over its mirror image counterpart? That is, could the fitness of a fish be altered by simply changing it into its own enantaniomorph? My answer is no. I present Flatlander thought experiment to demonstrate that mirror imagecounterparts are duplicates because they only differ in how they (...) happen to be oriented in space. The counterparts have the same intrinsic properties and are in the same environment,so there can be no difference in fitness. (shrink)

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

To say that an object is beautiful or ugly is seemingly to refer to a property of the object. But it is also to express a positive or negative response to it, a set of aesthetic values, and to suggest that others ought to respond in the same way. Such judg- ments are descriptive, expressive, and normative or prescriptive at once. These multiple features are captured well by Humean accounts that analyze the judgments as ascribing relational properties. To say that (...) an object is beautiful is to say, in part, that it is such as to elicit a response expressing pleasure in certain observers. The observers in question must not be ignorant, biased, insensitive, or of poor taste, and they must not base their evaluations on aesthetically irrelevant properties of the objects they judge. The reference to the object's "being such . . ." captures the objective side of the relation; refer- ence to the pleasurable response captures the expressive function of these judgments; and the ideal properties of the observers suggest that others ought to judge in the same way. (shrink)

Cope’s Computers and Musical Style describes a computer program that allegedly can represent and replicate musical styles solely on the basis of compositions that have been entered into it. If this claim is correct, then it must be that an oeuvre’s stylistic characteristics locally supervene on its textual features, which roughly means that its stylistic properties are entirely determined by its textual properties. In my paper I argue that stylistic properties do not locally supervene on textual properties, and thus that (...) neither Cope’s program nor any other that essentially works like it can represent or replicate styles. (shrink)

This is a revised and updated edition of Graham Nerlich's classic book The Shape of Space. It develops a metaphysical account of space which treats it as a real and concrete entity. In particular, it shows that the shape of space plays a key explanatory role in space and spacetime theories. Arguing that geometrical explanation is very like causal explanation, Professor Nerlich prepares the ground for philosophical argument, and, using a number of novel examples, investigates how different spaces would affect (...) perception differently. This leads naturally to conventionalism as a non-realist metaphysics of space, an account which Professor Nerlich criticises, rejecting its Kantian and positivistic roots along with Reichenbach's famous claim that even the topology of space is conventional. He concludes that there is, in fact, no problem of underdetermination for this aspect of spacetime theories, and offers an extensive discussion of the relativity of motion. (shrink)