I begin this paper by describing and making attractive a physicalist aesthetic realist view of aesthetic properties. I then argue against this view on the basis of two premises. The first premise is thesis of aesthetic/sensory dependence that I have defended elsewhere. The second premise is the denial of a mind-independence thesis about sensory properties. I give an argument for that denial. Lastly, I put these two premises together and conclude that physicalist aesthetic realism is false. I articulate and give (...) a limited defence of the view that if aesthetic properties exist at all, they are a certain kind of mind-dependent property. (shrink)

I begin this paper by describing and making attractive a physicalist aesthetic realist view of aesthetic properties. I then argue against this view on the basis of two premises. The first premise is thesis of aesthetic/sensory dependence that I have defended elsewhere. The second premise is the denial of a mind-independence thesis about sensory properties. I give an argument for that denial. Lastly, I put these two premises together and conclude that physicalist aesthetic realism is false. I articulate and give (...) a limited defence of the view that if aesthetic properties exist at all, they are a certain kind of mind-dependent property. (shrink)

This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...) properties as causally efficient powers, analogous to properties like fragility or poisonousness. To show how such a view can be made ontologically respectable, I draw on recent ‘dispositionalist’ accounts of powers in philosophical metaphysics. I then offer two arguments in favour of this view. First, the view matches the phenomenology of aesthetic judgement. Second, the view offers an explanation of how it is that critics can demand agreement with their aesthetic judgements. (shrink)

Christopher Cowie has recently argued that companions in guilt arguments against the moral error theory that appeal to epistemic reasons cannot work. I show that such companions in guilt arguments can work if, as we have good reason to believe, moral reasons and epistemic reasons are instances of fundamentally the same relation.

The relativist's central objection to contextualism is that it fails to account for the disagreement we perceive in discourse about "subjective" matters, such as whether stewed prunes are delicious. If we are to adjudicate between contextualism and relativism, then, we must first get clear about what it is for two people to disagree. This question turns out to be surprisingly difficult to answer. A partial answer is given here; although it is incomplete, it does help shape what the relativist must (...) say if she is to do better than the contextualist in securing genuine disagreement. (shrink)

Kant claims that the judgement of taste, the judgement that some particular is beautiful, exhibits two ‘peculiarities’. First: [t]he judgement of taste determines its object in respect of delight with a claim to the agreement of every one , just as if it were objective.

Many people accept, at least implicitly, what I call the asymmetry claim: the view that moral realism is more defensible than aesthetic realism. This article challenges the asymmetry claim. I argue that it is surprisingly hard to find points of contrast between the two domains that could justify their very different treatment with respect to realism. I consider five potentially promising ways to do this, and I argue that all of them fail. If I am right, those who accept the (...) asymmetry claim have a significant burden of proof. (shrink)

It is common to distinguish between attributive and predicative goodness. There are good reasons to think that artistic value is a kind of attributive goodness. Surprisingly, however, much debate in philosophical aesthetics has proceeded as though artistic value is a kind of predicative goodness. As I shall argue, recognising that artistic value is attributive goodness has important consequences for a number of debates in aesthetics.

Recently a number of writers have argued that a new form of relativism involves a form of semantic context-dependence which helps it escape the perhaps most common objection to ordinary contextualism; that it cannot accommodate our intuitions about disagreement. I argue: (i) In order to evaluate this claim we have to pay closer attention to the nature of our intuitions about disagreement. (ii) We have different such intuitions concerning different questions: we have more stable disagreement intuitions about moral disputes than (...) about, say, disputes about matters of taste. (iii) The new form of relativism does not vindicate the stable intuitions about disagreement. (iv) It does a better job explaining the unstable intuitions than contextualism. But, pace some relativists, it is not clear that assertion-truth rather than just proposition-truth has to be relativized to accomplish this. (shrink)

The moral error theorist claims that moral discourse is irredeemably in error because it is committed to the existence of properties that do not exist. A common response has been to postulate ‘companions in guilt’—forms of discourse that seem safe from error despite sharing the putatively problematic features of moral discourse. The most developed instance of this pairs moral discourse with epistemic discourse. In this paper, I present a new, prudential, companions-in-guilt argument and argue for its superiority over the epistemic (...) alternative. (shrink)

Moral relativism provides a compelling explanation of linguistic data involving ordinary moral expressions like 'right' and 'wrong'. But it is a very radical view. Because relativism relativizes sentence truth to contexts of assessment it forces us to revise standard linguistic theory. If, however, no competing theory explains all of the evidence, perhaps it is time for a paradigm shift. However, I argue that a version of moral contextualism can account for the same data as relativism without relativizing sentence truth to (...) contexts of assessment. This version of moral contextualism is thus preferable to relativism on methodological grounds. (shrink)

Aesthetics has typically been regarded as an arena where claims about truth cannot be made as questions about art seem to involve more matters of taste than knowledge. In _Real Beauty_, however, Eddy Zemach maintains that beauty, ugliness, gracefulness, gaudiness, and similar aesthetic properties are real features of public things and argues that whether these features are present is a matter of fact that can be empirically investigated. By examining the opposing nonrealistic views of Subjectivism, Noncognitivism, and Relativism, Zemach attempts (...) to show how antirealistic interpretations of art generate absurd results and leave the realistic reading as the only cogent semantic interpretation of aesthetic statements. By discussing what inclines most people to hold nonrealistic views in aesthetics, such as the fluctuations of taste in fashion, Zemach argues that Realism can account for these fluctuations. He proposes that the aesthetic value of some things is due to their relations to other things and that relation may be temporal, resulting in the need for a temporal point for the correct temporal angle from which to view things. Zemach concludes that great art reveals significant truths about reality and that significantly true statements are aesthetically valuable, hence truth is an aesthetic merit. (shrink)

In De Gustibus Peter Kivy deals with a question that has never been fully addressed by philosophers of art: why do we argue about art? We argue about the 'facts' of the world either to influence people's behaviour or simply to get them to see what we take to be the truth about the world. We argue over ethical matters, if we are ethical 'realists,' because we think we are arguing about 'facts' in the world. And we argue about ethics, (...) if we think matters of ethics are simply matters of 'attitude,' to influence the behaviour of others. But why should we argue about works of art? There are no 'actions' we wish to motivate. Whether I think Bach is greater than Beethoven and you think the opposite, why should it matter to either of us to convince the other? Kivy claims here that we argue over taste because we think, mistakenly or not, that we are arguing over matters of fact. (shrink)

I begin this paper by describing and making attractive a physicalist aesthetic realist view of aesthetic properties. I then argue against this view on the basis of two premises. The first premise is thesis of aesthetic/sensory dependence that I have defended elsewhere. The second premise is the denial of a mind-independence thesis about sensory properties. I give an argument for that denial. Lastly, I put these two premises together and conclude that physicalist aesthetic realism is false. I articulate and give (...) a limited defence of the view that if aesthetic properties exist at all, they are a certain kind of mind-dependent property. (shrink)

We defend a contextualist account of deontic judgments as relativized both to (i) information and to (ii) standards or ends, against recent objections that turn on practices of moral disagreement. Kolodny & MacFarlane argue that information-relative contextualism cannot accommodate the connection between deliberation and advice; we suggest in response that they misidentify the basic concerns of deliberating agents. For pragmatic reasons, semantic assessments of normative claims sometimes are evaluations of propositions other than those asserted. Weatherson, Schroeder and others have raised (...) parallel objections to standard-relative contextualism; we argue for a parallel solution. (shrink)