ABSTRACTAlthough formative of modern value theory, the moral beauty view—which states that moral virtue is beautiful and moral vice is ugly—is now mostly neglected by philosophers. The two contemporary defences of the view mostly capitalize on its intuitive attractiveness, but to little avail: such considerations hardly convince sceptics of what is nowadays a rather unpopular view. Historically, the view was supported by thought experiments; and although these greatly increase its plausibility, they also raise empirical questions, which they leave unanswered. Here, (...) I offer a novel defence of the moral beauty view, capitalizing on empirical evidence and arguing via an inference to the best explanation. (shrink)

The concepts expressed by social role terms such as artist and scientist are unique in that they seem to allow two independent criteria for categorization, one of which is inherently normative. This study presents and tests an account of the content and structure of the normative dimension of these “dual character concepts.” Experiment 1 suggests that the normative dimension of a social role concept represents the commitment to fulfill the idealized basic function associated with the role. Background information can affect (...) which basic function is associated with each social role. However, Experiment 2 indicates that the normative dimension always represents the relevant commitment as an end in itself. We argue that social role concepts represent the commitments to basic functions because that information is crucial to predict the future social roles and role-dependent behavior of others. (shrink)

Editorial preface to the fourth edition and modified translation -- The text of the Philosophische Untersuchungen -- Philosophische untersuchungen = Philosophical investigations -- Philosophie der psychologie, ein fragment = Philosophy of psychology, a fragment.

'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)

In The Abuse of Beauty, art critic and philosopher Arthur Danto explains how the notion of beauty as anathema to art arose and flourished and offers a new way of looking at art and beauty. He draws on the thought of artists, critics, and philosophers such as Rimbaud, Fry, Matisse, and Greenberg, to reposition beauty as one of many modes -- along with sexuality, sublimity, disgust, and horror -- through which the human sensibility expresses itself. 20 black-and-white illustrations are included.

Five experiments provide evidence for a class of ‘dual character concepts.’ Dual character concepts characterize their members in terms of both (a) a set of concrete features and (b) the abstract values that these features serve to realize. As such, these concepts provide two bases for evaluating category members and two different criteria for category membership. Experiment 1 provides support for the notion that dual character concepts have two bases for evaluation. Experiments 2-4 explore the claim that dual character concepts (...) have two different criteria for category membership. The results show that when an object possesses the appropriate concrete features, but does not fulfill the appropriate abstract value, it is judged to be a category member in one sense but not in another. Finally, Experiment 5 uses the theory developed here to construct artificial dual character concepts and examines whether participants react to these artificial concepts in the same way as naturally occurring dual character concepts. The present studies serve to define the nature of dual character concepts and distinguish them from other types of concepts (e.g., natural kind concepts), which share some, but not all of the properties of dual character concepts. More broadly, these phenomena suggest a normative dimension in everyday conceptual representation. (shrink)

This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work.

Kant's only aesthetic work apart from the Critique of Judgment , Observations on the Feeling of the Beautiful and Sublime gives the reader a sense of the personality and character of its author as he sifts through the range of human responses to the concept of beauty and human manifestations of the beautiful and sublime. Kant was fifty-eight when the first of his great Critical trilogy, the Critique of Pure Reason , was published. Observations offers a view into the mind (...) of the forty-year-old Kant. (shrink)

Chomsky proposes a reformulation of the theory of transformational generative grammar that takes recent developments in the descriptive analysis of particular ...

Functional beauty in the aesthetic tradition -- Functional beauty in contemporary aesthetic theory -- Indeterminacy and the concept of function -- Function and form -- Nature and environment -- Architecture and the built environment -- Artefacts and everyday aesthetics -- The functions of art.

Concerning beauty, order, harmony, design.--Concerning moral good and evil.

The foundation for a system of morals, this 1749 work is a landmark of moral and political thought. Its highly original theories of conscience, moral judgment, and virtue offer a reconstruction of the Enlightenment concept of social science, embracing both political economy and theories of law and government.

Why are moral actions beautiful, when indeed they are? This paper assesses the view, found most notably in Schiller, that moral actions are beautiful just when they present the appearance of freedom by appearing to be the result of internal harmony (the Schillerian Internal Harmony Thesis). I argue that while this thesis can accommodate some of the beauty involved in contrasts of the ‘continent’ and the ‘fully’ virtuous, it cannot account for all of the beauty in such contrasts, and so (...) needs to be weakened considerably (to the Internal Harmony Thesis). To account for the remaining beauty that cannot be fully accommodated even by this revised thesis, as well as the beauty contained in contrasts that involve agents who experience internal conflict as a result of being sensitive to different sources of moral value to an appropriate extent, a number of further theses need to be posited: namely, that the beauty of some moral actions is to be accommodated in terms of internal disharmony (the Internal Disharmony Thesis), and in terms of a felt harmony between the appreciator of the action and the executor of the action (the Affective Harmony Thesis). As such, in contrast to Schiller, I suggest that we need to take a pluralist and context-sensitive approach to accommodating the beauty of moral actions. (shrink)

When are morally good actions beautiful, when indeed they are? In this paper, it is argued that morally good actions are beautiful when they appear to express the deep or true self, and in turn tend to give rise to an emotion which is characterised by feelings of being moved, unity, inspiration, and meaningfulness, inter alia. In advancing the case for this claim, it is revealed that there are additional sources of well-formedness in play in the context of moral beauty (...) in addition to those that have tended to be focused on to date: one which is connected to imagining a deep location for the goodness concerned, and another which is connected to imagining that the goodness stems from capacities which are essential to the person. (shrink)

Philosophers and linguists currently lack the means to reliably identify evaluative concepts and measure their evaluative intensity. Using a corpus-based approach, we present a new method to distinguish evaluatively thick and thin adjectives like ‘courageous’ and ‘awful’ from descriptive adjectives like ‘narrow,’ and from value-associated adjectives like ‘sunny.’ Our study suggests that the modifiers ‘truly’ and ‘really’ frequently highlight the evaluative dimension of thick and thin adjectives, allowing for them to be uniquely classified. Based on these results, we believe our (...) operationalization may pave the way for a more quantitative approach to the study of thick and thin concepts. (shrink)

According to the most important objection to the existence of moral beauty, true judgements of moral beauty are not possible as moral judgements require being motivated to act in line with the moral judgement made, and judgements of beauty require not being motivated to act in any way. Here, I clarify the argument underlying the objection, and show that it does not show that moral beauty does not exist. I present two responses: namely, that the beauty of moral beauty does (...) not lie in the moral goodness per se (the “adjacent properties” response); and that only a dispositional motivation to act is required for the moral judgements that are typically made as part of judgements of moral beauty, whereas aesthetic judgements only rule out state motivations to act (the “equivocation of motivation required” response). In addressing the objection, I show how moral beauty is consistent with disinterestedness, and so should be accepted more widely; and also clarify where the beauty in moral beauty resides, and how the moral-aesthetic distinction should be drawn. (shrink)

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion—ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues are (...) partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

One of the reasons for the disappearance of beauty in the artistic ideology of the late twentieth century has been the seeming similarity of beauty to certain kinds of kitsch. Beauty has also been associated with flawlessness and with glamour. I will content that the flawless and the glamorous are actually categories of kitsch, and that the dominance of these images in marketing has contributed to our societal tendency to confuse them with beauty. The quests for flawlessness and glamour are (...) both self-sabotaging, a premise on which the marketing of beauty depends. These false paradigms of beauty have ob cured the fact that human beauty manifests an ideal of balance and health that is neither self-conscious nor a consequence of deliberate effort. I will defend the relevance of this ideal to beauty to our personal and cultural well-being. (shrink)

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion— ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues (...) are partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. (shrink)

Philosophers of music, like Charles Swann in Proust’s novel (Proust 1913/1992, p. 360), have traditionally found it difficult to utter the word ‘profound’ unironically. But this changed with Peter Kivy’s 1990 paper ‘The profundity of music’ The problem Kivy draws our attention to is this: we do call some musical works profound. However, Kivy argues, given that a work is profound only if it is about something profound and given that music (or ‘music alone’) is not about anything, this leads (...) to something of a paradox: how can music be profound if it is not about something profound. My aim in this paper is to argue that what makes a work profound is not that it is about something profound, but that it actively challenges any straightforward interpretative activity (while at the same time nudges you to keep on trying to interpret it). I argue that this line of argument is very much in tune with Kivy’s general theoretical commitment that “music alone isn’t about anything” (Kivy 1990, p. 245). (shrink)

Seminal work by Knobe, Prasada, and Newman (2013) distinguished a set of concepts, which they named “dual‐character concepts.” Unlike traditional concepts, they require two distinct criteria for determining category membership. For example, the prototypical dual‐character concept “artist” has both a concrete dimension of artistic skills, and an abstract dimension of aesthetic sensibility and values. Therefore, someone can be a good artist on the concrete dimension but not truly an artist on the abstract dimension. Does this analysis capture people's understanding of (...) cornerstone social categories, such as gender, around which society and everyday life have traditionally been organized? Gender, too, may be conceived as having not only a concrete dimension but also a distinct dimension of abstract norms and values. As with dual‐character concepts, violations of abstract norms and values may result in someone being judged as not truly a man/woman. Here, we provide the first empirical assessment of applying the dual‐character framework to people's conception of gender. We found that, on some measures that primarily relied on metalinguistic cues, gender concepts did indeed resemble dual‐character concepts. However, on other measures that depicted transgressions of traditional gender norms, neither “man” nor “woman” appeared dual‐character‐like, in that participants did not disqualify people from being truly a man or truly a woman. In a series of follow‐up studies, we examined whether moral norms have come to replace gender role norms for the abstract dimension. Implications for the evolution of concepts and categories are explored. (shrink)

In this article, robust evidence is provided showing that an individual’s moral character can contribute to the aesthetic quality of their appearance, as well as being beautiful or ugly itself. It is argued that this evidence supports two main conclusions. First, moral beauty and ugliness reside on the inside, and beauty and ugliness are not perception-dependent as a result; and, second, aesthetic perception is affected by moral information, and thus moral beauty and ugliness are on the outside as well.

In chapters ranging from "The Beautiful, the Dainty, and the Dumpy" to "Skin-deep or In the Eye of the Beholder?" Nick Zangwill investigates the nature of beauty as we conceive it, and as it is in itself. The notion of beauty is currently attracting increased interest, particularly in philosophical aesthetics and in discussions of our experiences and judgments about art. In The Metaphysics of Beauty, Zangwill argues that it is essential to beauty that it depends on the ordinary features of (...) things. He uses this principle to defend the notion of the aesthetic, to call for a version of aesthetic formalism, and to reconsider the reality of beauty. The Metaphysics of Beauty brings beauty to the center of intellectual consciousness in a manner informed by contemporary metaphysics and engages with beauty as an enduring object of human thought and experience. (shrink)

How looking beautiful has become a moral imperative in today’s world The demand to be beautiful is increasingly important in today's visual and virtual culture. Rightly or wrongly, being perfect has become an ethical ideal to live by, and according to which we judge ourselves good or bad, a success or a failure. Perfect Me explores the changing nature of the beauty ideal, showing how it is more dominant, more demanding, and more global than ever before. Heather Widdows argues that (...) our perception of the self is changing. More and more, we locate the self in the body--not just our actual, flawed bodies but our transforming and imagined ones. As this happens, we further embrace the beauty ideal. Nobody is firm enough, thin enough, smooth enough, or buff enough—not without significant effort and cosmetic intervention. And as more demanding practices become the norm, more will be required of us, and the beauty ideal will be harder and harder to resist. If you have ever felt the urge to "make the best of yourself" or worried that you were "letting yourself go," this book explains why. Perfect Me examines how the beauty ideal has come to define how we see ourselves and others and how we structure our daily practices—and how it enthralls us with promises of the good life that are dubious at best. Perfect Me demonstrates that we must first recognize the ethical nature of the beauty ideal if we are ever to address its harms. (shrink)

Our goal in this paper is to articulate a novel account of the ordinary concept ART. At the core of our account is the idea that a puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon that (...) is associated with ART can also be found in a broad class of other dual character concepts, including SCIENTIST, CHRISTIAN, GANGSTER, and many others. Instead of focusing narrowly on the case of ART, we try to offer a more general account of these concepts and the puzzles to which they give rise. Then, drawing on the general theory, we introduce a series of hypotheses about art concepts, and put those hypotheses to the test in three experimental studies. (shrink)

This book examines the evidential status and use of linguistic intuitions, a topic that has seen increased interest in recent years. Linguists use native speakers' intuitions - such as whether or not an utterance sounds acceptable - as evidence for theories about language, but this approach is not uncontroversial. The two parts of this volume draw on the most recent work in both philosophy and linguistics to explore the two major issues at the heart of the debate. Chapters in the (...) first part address the 'justification question', critically analysing and evaluating the theoretical rationale for the evidential use of linguistic intuitions. The second part discusses recent developments in the domain of experimental syntax, focusing on the question of whether formal and systematic models of gathering intuitions are epistemically and methodologically superior to the informal methods that have traditionally been used. -/- The volume provides valuable insights into whether and how linguistic intuitions can be used in theorizing about language, and will be of interest to graduate students and researchers in linguistics, philosophy, and cognitive science. (shrink)

Recent scientific research has settled on a purely descriptive definition of happiness that is focused solely on agents’ psychological states (high positive affect, low negative affect, high life satisfaction). In contrast to this understanding, recent research has suggested that the ordinary concept of happiness is also sensitive to the moral value of agents’ lives. Five studies systematically investigate and explain the impact of morality on ordinary assessments of happiness. Study 1 demonstrates that moral judgments influence assessments of happiness not only (...) for untrained participants, but also for academic researchers and even in those who study happiness specifically. Studies 2 and 3 then respectively ask whether this effect may be explained by general motivational biases or beliefs in a just world. In both cases, we find evidence against these explanations. Study 4 shows that the impact of moral judgments cannot be explained by changes in the perception of descriptive psychological states. Finally, Study 5 compares the impact of moral and non-moral value, and provides evidence that unlike non-moral value, moral value is part of the criteria that govern the ordinary concept of happiness. Taken together, these studies provide a specific explanation of how and why the ordinary concept of happiness deviates from the definition used by researchers studying happiness. (shrink)

What do mathematicians mean when they use terms such as ‘deep’, ‘elegant’, and ‘beautiful’? By applying empirical methods developed by social psychologists, we demonstrate that mathematicians' appraisals of proofs vary on four dimensions: aesthetics, intricacy, utility, and precision. We pay particular attention to mathematical beauty and show that, contrary to the classical view, beauty and simplicity are almost entirely unrelated in mathematics.

Lucid, learned, and incomparably rich in thought and detail, Art Without Borders is a monumental accomplishment, on par with the artistic achievements ...

According to Peter Kivy, to be profound, music would have to be about a profound subject that is treated in an exemplary way. Instrumental music does not satisfy this definition; usually it is not about anything humanly important, and when it is, it can convey no more than banalities. Like others, I argue against the propositional character of Kivy's ‘aboutness’ criterion; profundity can be revealed or displayed other than via statements and descriptions. I am less inclined than some of Kivy's (...) critics to argue that music conveys profound insights into the emotions or abstract metaphysical ideas, such as unity and identity. Instead, I draw a parallel with great chess, which illustrates the fecundity, flexibility, insight, vitality, subtlety, complexity, and analytical far-reachingness of which the human mind is capable. That demonstration is of deep significance, given the wider importance of an appreciation of our intellectual and imaginative powers, even if chess says nothing about the skills to which it draws attention. My thesis is that some instrumental music is profound in a similar way; namely, for what it exemplifies and thereby reveals about the capacities of the human mind. (shrink)

Peter Kivy has become convinced that it is impossible for pure, instrumental music to be profound. This is because he takes works of such music to be incapable of meeting what he claims to be two necessary conditions for artistic profundity: that the work denotes something profound, and that the work expresses profound propositions about its profound denotatum. The negative part of this paper argues as follows. Although works of pure, instrumental music do, indeed, fail to meet these conditions, the (...) said conditions are not themselves necessary for artistic profundity. In fact, each is a misinterpretation of a distinct, genuinely necessary condition for a work’s being profound: respectively, that the work has a profound subject matter, and that the work handles its profound subject matter in such a way as to elicit a deeper understanding of it in the suitably situated and prepared appreciator. The positive part of the paper elaborates these genuinely necessary conditions for artistic profundity and then argues that, once they have been disentangled from Kivy’s misconstruals of them, it becomes evident that they can be met by pieces of pure, instrumental music. (shrink)