“Sentiment” is a term of art, intended to refer to object-directed, irruptive states, that occur in relatively transient bouts involving positive or negative affect, and that typically involve a distinctive motivational profile. Not all the states normally called “emotions” are sentiments in the sense just characterized. And all the terms for sentiments are sometimes used in English to refer to longer lasting attitudes. But this discussion is concerned with boutish affective states, not standing attitudes. That poses some challenges that will (...) be my focus here. Rational sentimentalism is a cousin of fitting attitude theories of value, but other fitting attitude theories appeal to attitudes that are widely assumed to be governable by certain kinds of judgments. The basic challenge is this: are these boutish sentiments the sorts of things that we can and do regulate in the ways that are required for treating ‘shameful’, ‘funny’, ‘disgusting’ and the like as values? In what follows I briefly sketch some necessary conditions on treating something as a value, from which it emerges that treating sentimental values as values requires regulating the sentiments for fittingness. The rest of the paper is devoted to two ways of understanding how such regulation might work. I argue first that sentiments are susceptible to regulation by evaluative judgment, though perhaps not in quite the same way that philosophers have thought “judgment-sensitive attitudes” are regulated by judgment. I then suggest more tentatively that sentiments are also susceptible to regulation for fittingness in a different way: by educating sensibilities. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.

There seem to be at least two leading conceptions of art appreciation. The first, and by far the most popular, it seems to me, regards “appreciation” as a synonym for “approbation,” which itself can be a synonym for affection or even love. “To appreciate,” in this sense, is “to cherish.” This is the notion of appreciation that most plain speakers have in mind when they say things such as “I appreciate what you’ve done with your garden.” They mean “I like (...) what you’ve done with your garden.” Call this “appreciation-as-liking.” Although I’ve claimed that this is the popular construal of appreciation, it also possesses some estimable philosophical credentials. David Hume, for example, seems to hold a... (shrink)

The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility (...) of deriving knowledge from a non- aesthetic description. If this were to be a real possibility, it would certainly disprove the Acquaintance Principle, but its impossibility would not establish it. Furthermore, if the way knowledge were to be derived from a non- aesthetic description were through its enabling a person to imagine the object, a defender of the Acquaintance Principle might simply deem imagining to be a form of first-hand experience. I focus on the possibility of acquiring aesthetic knowledge through reliable testimony because here there is a style of argument that, if correct, would rule out the possibility of knowledge of an item's aesthetic properties being transmitted to someone who lacks the requisite first-hand experience, and the manoeuvre of including imagining under the head of first-hand experience is not available. An argument of this kind is, I believe, the only possible way of establishing the Acquaintance Principle. I try to show that this style of argument fails and that the Acquaintance Principle should be rejected. (shrink)

What does bodily pain have in common with mental pain? According to “evaluativism,” both are representations of something bad. This paper puts forward three claims. First, that evaluativism vis-à-vis bodily pain is false for it renders it irrational to take painkillers. Second, that evaluativism vis-à-vis mental pain is true. Third, that this difference between bodily and mental pain stems from the fact that only the latter is normative, that is, based on reasons. The normative difference between bodily and mental pain (...) implies that mental pains are not bad, while bodily pains are not representations. (shrink)

As topics in the philosophy of emotion, pleasure and displeasure get less than their fair share of attention. On the one hand, there is the fact that pleasure and displeasure are given no role at all in many theories of the emotions, and secondary roles in many others.1 On the other, there is the centrality of pleasure and displeasure to being emotional. A woman who tears up because of a blustery wind, while an ill-advised burrito weighs heavily upon her digestive (...) tract, feels an impressive number of the sensations felt by someone who is gut-wrenchingly sad. Yet, unless she feels bad, the way she feels is only a pale echo of the feeling of sadness. If she feels good in spite of the burrito and the wind, then she does not feel at all the way she would if she were sad. Likewise, a man falling asleep can hardly fail to feel his muscles relax, his heart rate fall, and so on, but unless he feels good his state is only a shadow of feeling content. This paper will begin with a sketch of the nature of pleasure and displeasure, and the relation between them and the feelings that are characteristic of emotions. It will then argue that the capacity to feel pleased and displeased is, quite literally, a sense modality: one allowing us to perceive net change in the satisfaction of our intrinsic desires. As with any sense modality, the capacity to feel pleased and displeased displays substantial modularity. The paper concludes by considering the ways in which the modularity of pleasure and displeasure contributes to effects that might reasonably be called “the modularity of the emotions.”. (shrink)

As topics in the philosophy of emotion, pleasure and displeasure get less than their fair share of attention. On the one hand, there is the fact that pleasure and displeasure are given no role at all in many theories of the emotions, and secondary roles in many others.1 On the other, there is the centrality of pleasure and displeasure to being emotional. A woman who tears up because of a blustery wind, while an ill-advised burrito weighs heavily upon her digestive (...) tract, feels an impressive number of the sensations felt by someone who is gut-wrenchingly sad. Yet, unless she feels bad, the way she feels is only a pale echo of the feeling of sadness. If she feels good in spite of the burrito and the wind, then she does not feel at all the way she would if she were sad. Likewise, a man falling asleep can hardly fail to feel his muscles relax, his heart rate fall, and so on, but unless he feels good his state is only a shadow of feeling content. This paper will begin with a sketch of the nature of pleasure and displeasure, and the relation between them and the feelings that are characteristic of emotions. It will then argue that the capacity to feel pleased and displeased is, quite literally, a sense modality: one allowing us to perceive net change in the satisfaction of our intrinsic desires. As with any sense modality, the capacity to feel pleased and displeased displays substantial modularity. The paper concludes by considering the ways in which the modularity of pleasure and displeasure contributes to effects that might reasonably be called “the modularity of the emotions.”. (shrink)

Pt. I. The apparent good. Evaluative cognition -- Perceiving the good -- Phantasia and the apparent good -- pt. II. The apparent good and non-rational motivation. Passions and the apparent good -- Akrasia and the apparent good -- pt. III. The apparent good and rational motivation. Phantasia and deliberation -- Happiness, virtue, and the apparent good -- Practical induction -- Conclusion : Aristotle's practical empiricism.

Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an account of pleasure-learning, in which it reinforces (...) the appreciation of culture specific ways of engaging with art. (shrink)

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

Abstract: The ‘feeling theory of emotion’ holds that emotions are to be identified with feelings. An objection commonly made to that theory of emotion has it that emotions cannot be feelings only, as emotions have intentional objects. Jack does not just feel fear, but he feels fear-of-something. To explain this property of emotion we will have to ascribe to emotion a representational structure, and feelings do not have the sought after representational structure. In this paper I seek to defend the (...) feeling theory of emotion against the challenge from the object-directed emotions. (shrink)

A number of emotion theorists hold that emotions are perceptions of value. In this paper I say why they are wrong. I claim that in the case of emotion there is nothing that can provide the perceptual modality that is needed if the perceptual theory is to succeed (where by ‘perceptual modality’ I mean the particular manner in which something is perceived). I argue that the five sensory modalities are not possible candidates for providing us with ‘emotional perception’. But I (...) also say why the usual candidate offered – namely feeling or affectivity – does not give us the sought-after perceptual modality. I conclude that as there seems to be nothing else that can provide the needed perceptual modality, we should reject the perceptual theory of emotion.1. (shrink)

The nature of the general connection between emotion and value, and of the various connections between specific emotions and values, lies at the heart of philosophical discussion of the emotions. It is also central to some accounts of the nature of value itself, of value in general but also of the specific values studied within particular philosophical domains. These issues all form the subject matter of this article, and they in turn are all connected by two main questions: (i) How (...) do emotions disclose or create values? (ii) What are the epistemic credentials of emotion in justifying evaluative thought and discourse? This second question obviously presupposes some answer to the first question concerning the way in which emotions reveal, constitute, or create value. (shrink)

I argue that a solution to the paradox of horror should accommodate the possibility of enjoying an aesthetic experience partly in virtue of its being painful. This possibility is typically thought to be ruled out by the very nature of pleasure and pain. I argue that this is not so for adverbial accounts of pleasure. Using Aristotle's theory of pleasure as an example of an adverbial account, I show that it is possible for to enjoy an aesthetic experience partly in (...) virtue of its being painful. (shrink)

Several tensions run through philosophical debates on the nature of pleasure: is it a feeling or an attitude? Is it excited engagement during activities, or satisfaction and contentment at their completion? Pleasure also plays fundamental explanatory roles in psychology, neuroscience, and animal behavior. I draw on this work to argue that pleasure picks out two distinct, but interacting neurobiological systems with long evolutionary histories. Understanding pleasure as having these two facets gives us a better account of pleasure and explains the (...) persistent tensions in the concept. This account of pleasure also sheds light on happiness and well-being. (shrink)

Hume is plausibly interpreted as asserting that an artwork is beautiful if and only if it pleases ideal critics. Jerrold Levinson maintains that Hume's commitment to this biconditional gives rise to a problem that occurs neither to Hume nor to his any of his interpreters—the problem of explaining why you should care what pleases ideal critics if you are not one yourself. I argue that this problem arises only if you hold an empiricist theory of aesthetic value—that is, a theory (...) that reduces the aesthetic value of a work to the value of the experience it affords—as Levinson does. I argue that Levinson's own attempted solution to the problem cannot succeed. And I argue that the problem never arises for Hume because his commitment to the biconditional is not a commitment to an empiricist theory of aesthetic value, but to an empiricist theory of aesthetic evaluation. (shrink)

Value empiricists in aesthetics claim that we can explain the value of artworks by appeal to the value of the experiences they afford. I raise the question of the value of those experiences. I argue that while there are many values that such experiences might have, none is adequate to explaining the value of the works that afford the experiences. I then turn to defending the alternative to value empiricism, which I dub the object theory . I argue that if (...) there is some problem attending the object theory, commensurate with the problems attending empiricism, no one seems to have any idea what it is. I close by urging that the object theory be granted a fresh hearing. (shrink)

I did something yesterday, so it was true a thousand years ago that I was going to do it. Could I help it, then? Professor Ryle shows that I could; he also shows that a dilemma like this starts with a slender base - the question whether statements in the future can be true - and opens out before one notices it into questions like 'is it worthwhile learning to swim?' In his second demonstration Professor Ryle proves that Achilles will (...) after all overtake his tortoise and will not have to pursue it through all eternity. These two puzzles were classic if academic examples of the dilemmas Professor Ryle is concerned with. Common sense tells me that I can to some extent control my life; should I then, faced with an apparently logical argument for fatalism, reject common sense? Again, because I enjoy or dislike things, are all my actions due to the seeking of pleasure and the avoidance of pain? Because my eyes and ears tell me one set of things about the world and science tels me another, am I to think my senses less reliable or accurate than science? Professor Ryle's aim is to arbitrate between these pairs of theories which compete for our allegiance, and to show that the either/or which they seem to insist on is a false dilemma. It may lead to mere muddle, or to a more subtle confusion; either way these tugs-of-war between conflicting theories may bring the ordinary man either to confused or wrong action or to intellectual apathy. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

This paper offers a qualified defense of a historically popular view that I call sentimental perceptualism. At a first pass, sentimental perceptualism says that emotions play a role in grounding evaluative knowledge analogous to the role perceptions play in grounding empirical knowledge. Recently, András Szigeti and Michael Brady have independently developed an important set of objections to this theory. The objections have a common structure: they begin by conceding that emotions have some important epistemic role to play, but then go (...) on to argue that understanding how emotions play that role means that there must be some alternative, emotion-independent route to obtaining knowledge of value. If there has to be such an emotion-independent route, then the perceptual analogy breaks down in a significant way. In this paper, I argue that the right ways for sentimental perceptualists to respond to each of these objections are revealed by thinking through how analogous objections applied to perception and the empirical domain would be answered. Although Szigeti's and Brady's objections should not persuade sentimental perceptualists to give up their view, the objections do put important constraints on what a form of the view has to be like in order to do exciting metaethical work. (shrink)

The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted--even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most (...) testimony about art does not have much epistemic value. The situation is somewhat different with respect to aesthetic testimony about nature, proofs, and theories. (shrink)

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...) critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)

Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.

A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...) pleasure. Yet their reasons for acting are aesthetic. Since aesthetic values figure in aesthetic reasons, we can read a nonempiricist theory of aesthetic value off aesthetic experts’ reasons for acting. (shrink)

A while ago I pulled the short straw, and became chair of my department. One nice part of the job is to praise people I work with, which I can do sincerely because they are very praiseworthy. I also have to read a lot of praise by others; the familiar things—project evaluations, letters of recommendation, promotion dossiers, and so on and so forth. As a result, I have learnt to attend to praise a little more closely.

Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one's mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...) occur, and when they do it is a priori that one side has infringed the norms governing aesthetic discourse. This combination can be achieved by reading Kant’s aesthetic theory in expressivist terms. The resulting view is a form of quasi-realism about beauty. The position has its merits, but cannot ultimately explain the phenomena which motivate it. This conclusion generalises to quasi-realism about other matters. (shrink)

Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. I argue that this second form of (...) pessimism has certain advantages over the first. I offer two candidates for the non-epistemic norm that, on this view, stands in the way of our taking aesthetic testimony. And I argue that this form of pessimism meets a challenge to pessimism in general – that of explaining why, if testimony cannot be a legitimate source of aesthetic belief, we can nonetheless rightly rely on the aesthetic recommendations of others. (shrink)

It has become increasingly common for philosophers to make use of the concept of artistic value, and, further, to distinguish artistic value from aesthetic value. In a recent paper, ‘The Myth of (Non-Aesthetic) Artistic Value’, Dominic Lopes takes issue with this, presenting a kind of corrective to current philosophical practice regarding the use of the concept of artistic value. Here I am concerned to defend current practice against Lopes's attack. I argue that there is some unclarity as to what aspect (...) of this practice Lopes is objecting to, and I distinguish three kinds of objection that he could be read as making. I argue that none of these is adequately supported by Lopes's arguments, and that the corresponding three aspects of current philosophical practice are on firmer footing than Lopes's paper suggests. A new, plausible characterisation of artistic value will emerge from this discussion. (shrink)

The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...) their aesthetic evaluation and appreciation. This is why and how art is non-contingently related to pleasure. Call this, the Affective View. While I don’t advance conclusive arguments for the Affective View in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors’ power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the Affective View is worth serious reconsideration. (shrink)

According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...) to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value-Meriting-Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non-contingently, but also non-hedonically. VMP is the view that objects of aesthetic value are non-contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit. (shrink)

We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...) aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment. (shrink)

This chapter contains sections titled: Introduction Aesthetic Properties and Principles Ideal Critics Engagement Objections and Questions References Further reading.

It is widely agreed upon that aesthetic properties, such as grace, balance, and elegance, are perceived. I argue that aesthetic properties are experientially attributed to some non‐perceptible objects. For example, a mathematical proof can be experienced as elegant. In order to give a unified explanation of the experiential attribution of aesthetic properties to both perceptible and non‐perceptible objects, one has to reject the idea that aesthetic properties are perceived. I propose an alternative view: the affective account. I argue that the (...) standard case of experiential aesthetic property attribution is affective experience. (shrink)

Our emotional faculties respond to successes, gains, advantages, threats, losses, obstacles, and other personally significant objects or situations, producing positive or negative evaluations of them according to their perceived import. Being an evaluative response is a feature that emotions share with paradigm attitudes (beliefs, intentions, judgments, etc.). However, recently philosophers have been reluctant to treat emotions as attitudes. The usual reasons given have to do with the automaticity of emotions and their occasional recalcitrance. In this article, I argue that these (...) things shouldn't disqualify emotions from counting as genuine attitudes. Our emotions do bear the kind of relationship with our reasons that is characteristic of our attitudes. (shrink)

Peter Goldie opens the path to a deeper understanding of our emotional lives through a lucid philosophical exploration of this surprisingly neglected topic. Drawing on philosophy, literature and science, Goldie considers the roles of culture and evolution in the development of our emotional capabilities. He examines the links between emotion, mood, and character, and places the emotions in the context of consciousness, thought, feeling, and imagination. He explains how it is that we are able to make sense of our own (...) and other people's emotions, and how we can explain the very human things which emotions lead us to do. He argues that it is only from the personal point of view that thoughts, reasons, feelings, and actions come into view. This fascinating book gives an accessible but penetrating exploration of an important but mysterious subject. Any reader interested in emotion and its role in understanding our lives will find much to think about here. (shrink)

For many, the word 'pleasure' conjures associations with hedonism, indulgence, and escape from the life of the mind. However little we talk about it, though, pleasure also plays an integral role in cognitive life, in both our sensory perception of the world and our intellectual understanding. This previously important but now neglected philosophical understanding of pleasure is the focus of the essays in this volume, which challenges received views that pleasure is principally motivating of action, unanalyzable, and caused, rather than (...) responsive to reason. Like other books in the Oxford Philosophical Concepts series, it traces the development of the focal idea from ancient times through the 20th century. The essays highlight points of departure for new lines of inquiry rather than attempting to provide a full picture of how the idea of pleasure has been explored in philosophy. The volume begins by showing how Plato, Aristotle, early Islamic philosophers, and philosophers in the Medieval Latin tradition, such as Aquinas, honed in on the challenge of unifying the variety of pleasures so that they fall under one concept. In the early modern period, philosophers shifted from understanding the logic of pleasure to treating pleasure as a mental state. As the studies of Malebranche, Berkeley and Kant show, the central problem becomes understanding the relation of pleasure to other sensory experiences, and the role of pleasure in human cognition and knowledge. Short interdisciplinary reflections interspersed between essays focus on art of 16th and 17th century textbooks and the difficult music of composers like Bach, which demonstrate translation of these concerns to cultural production in the period. As the essay on Mill shows, the 19th century development of scientific psychology narrowed the definition of pleasure, and so its philosophical focus. Contemporary accounts of pleasure, however, in both philosophy and psychology, are now recognizing the limitations of this narrow focus, and are once again recognizing the complexity of pleasure and its role in human life. (shrink)

This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.