A review of David Davies, _Art as Performance_ (Blackwell, 2004).

In this much-anticipated book, Jonathan Dancy offers the only available full-scale treatment of particularism in ethics, a view with which he has been associated for twenty years. Dancy now presents particularism as the view that the possibility of moral thought and judgement does not in any way depend on an adequate supply of principles. He grounds this claim on a form of reasons-holism, holding that what is a reason in one case need not be any reason in another, and maintaining (...) that moral reasons are no different in this respect from others. Ethics Without Principles offers detailed treatment and criticism of opposing positions of all sorts, with useful summaries. It also contains three chapters on the nature of what Dancy calls 'contributory' reasons, which, though the topic of much interest at the moment, are not often discussed in anything like the detail given here. And it offers a distinctive form of value-holism to go with the holism of reasons. As Dancy's definitive statement on particularism, the book will be required reading for all those working on moral philosophy and ethical theory. (shrink)

In Reasons and the Good Roger Crisp answers some of the oldest questions in moral philosophy. Fundamental to ethics, he claims, is the idea of ultimate reasons for action; and he argues controversially that these reasons do not depend on moral concepts. He investigates the nature of reasons themselves, and how we come to know them. He defends a hedonistic theory of well-being and an account of practical reason according to which we can give some, though not overriding, priority to (...) our own good over that of others. (shrink)

According to reductive intellectualism, knowledge-how just is a kind of propositional knowledge (e.g., Stanley & Williamson 2001; Stanley 2011a, 2011b; Brogaard, 2008a, 2008b, 2009, 2011, 2009, 2011). This proposal has proved controversial because knowledge-how and propositional knowledge do not seem to share the same epistemic properties, particularly with regard to epistemic luck. Here we aim to move the argument forward by offering a positive account of knowledge-how. In particular, we propose a new kind of anti-intellectualism. Unlike neo-Rylean anti-intellectualist views, according (...) to which the possession of knowledge-how is just a matter of possessing certain abilities, we submit that knowledge-how is a particular kind of cognitive achievement attained just when cognitive ability is connected in the right way with successful performance. (shrink)

All aesthetic judgements, whether descriptive, evaluative or some combination of the two, and whatever they might be about, whether works of art, artefacts of other kinds, or natural things, declare themselves to be, not mere announcements or expressions of personal responses to the objects of judgement, but claims meriting the agreement of others. Despite the frequent appeal in everyday life to the nihilistic interpretation of the saying ‘It's all a matter of taste’, the doctrine of aesthetic nihilism—the view that such (...) claims are never warranted—does not merit serious attention. What is needed is an articulation of the various kinds of content of aesthetic judgements, one that will reveal what their claim to intersubjective validity amounts to and enable an assessment of what the proper limits of the claim might be. This clarification is what I attempt to provide. After some introductory definitions and classifications, the principal focus of the first part of the paper is descriptive aesthetic judgements, and one issue that figures large is the proper understanding of those judgements of this kind which are expressed in sentences that are intended to be understood metaphorically. A short bridge passage identifies an aesthetic judgement whose content is indicative of the content of evaluative aesthetic judgements of all kinds, and in particular evaluative aesthetic judgements about works of art, which the second part of the paper focuses on. Real illumination of these requires an identification of the aim of art (as such): I offer an account of this aim, which I defend against certain objections that it is liable to attract, and I use it to throw light not just on singular but also on comparative judgements of artistic value. I conclude with some remarks about purely aesthetic value and specifically artistic value and about similarities and differences between evaluative aesthetic judgements of works of art and evaluative aesthetic judgements of works of nature. (shrink)

If you are interested in art, you engage in artistic evaluation, thinking of one work as being better than another; one artist as being better than another; some works and some artists as being great, mediocre, or poor; and, perhaps, thinking of some forms or genres of art as being superior to others in that works within the favored form or genre have achieved or can aspire to a higher artistic value than is possible for those less favored. The greatest (...) philosophical challenge to this practice—a challenge that, if successful, would have wide-ranging consequences outside philosophy, in particular in undermining the status of the practice of art criticism—would maintain that it is, all of it, taken at face value.. (shrink)

Virtue Epistemology appealingly characterizes knowledge as a kind of achievement, attributable to the exercise of cognitive virtues. But a more thorough understanding of the nature and value of achievements more broadly casts doubt on the view. In particular, it is argued that virtue epistemology’s answer to the Meno question is not as impressive as it purports to be, and that the favored analysis of ability is both problematic and irrelevant. However, considerations about achievements illuminate the best direction for the development (...) of virtue epistemology. The key, it is argued, is developing the notion of manifestation as the distinguishing feature of both knowledge and achievements. (shrink)

Achievement is among the central goods in life, but just what is achievement, and how is it valuable? There is reason to think that it is a constitutive part of wellbeing; yet, it is possible to sacrifice wellbeing for the sake of achievement. How might it have been worthwhile, if not in terms of wellbeing? Perhaps, achievement is an intrinsic good, or perhaps it is valuable in terms of meaning in life. This article considers various ways in which we can (...) understand the nature and value of achievement, as well as the significance of achievement for other areas of philosophical inquiry. (shrink)

A widely accepted view in recent work in epistemology is that knowledge is a cognitive achievement that is properly creditable to those subjects who possess it. More precisely, according to the Credit View of Knowledge, if S knows that p, then S deserves credit for truly believing that p. In spite of its intuitive appeal and explanatory power, I have elsewhere argued that the Credit View is false. Various responses have been offered to my argument and I here consider each (...) of these objections in turn. I show that none succeeds in undermining my argument and, thus, my original conclusion stands—the Credit View of Knowledge is false. (shrink)

The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted in this (...) paper is as follows. First, I say what creativity is and what an artistic merit is. Second, I identify reasons to doubt that creativity is an artistic merit. A good explanation of the merit of creativity should address these doubts. Third, I develop a theory of artistic merit that appeals to the final value of acting excellently – for example, virtuously or skilfully. Finally, I argue that this enables us to explain why creativity is an artistic merit. This account also enables us to argue that artistic merits give some things final value, and not merely instrumental value. It also provides reason to believe that ethical qualities of artworks enhance their artistic merit for the same reason creativity does. (shrink)

In this book, T. M. Scanlon offers new answers to these questions, as they apply to the central part of morality that concerns what we owe to each other.

In this paper I present a novel account of achievement and I argue that, all other things being equal, the presence of this particular type of achievement in a person’s life makes that life more meaningful. In arguing for this conclusion, I explore the connections between m-achievements and a person’s self-conception and especially the idea that m-achievements provide a reason for the revision of one’s self-conception.

This chapter enhances and extends a powerful and promising research program, performance-based epistemology, which stands at the crossroads of many important currents that one can identify in contemporary epistemology, including the value problem, epistemic normativity, virtue epistemology, and the nature of knowledge. Performance-based epistemology offers at least three outstanding benefits: it explains the distinctive value that knowledge has, it places epistemic evaluation into a familiar and ubiquitous pattern of evaluation, and it solves the Gettier problem. But extant versions of performance-based (...) epistemology have been the object of serious criticism. This chapter shows how to meet the objections without sacrificing the aforementioned benefits. (shrink)

Recent work examining and expanding traditional accounts of a virtue has been used as the foundation for a virtue-based approach to epistemology. A similar approach to aesthetics yields some striking features, which coincide with contemporary philosophical concerns about the nature and definition of art. Those writing on virtue-based epistemology have offered epistemic theories based on intellectual virtues, defining knowledge from the nature of such virtues. This basic program can be applied to aesthetics so that art is defined using a virtue (...) theory of aesthetics. I will propose and examine the nature and structure of one such theory. I argue here that an approach to aesthetics, which defines art according to aesthetic virtues, would have characteristics that fit well with the value and interests we have about art. (shrink)

Knowledge seems to be a good thing, or at least better than epistemic states that fall short of it, such as true belief. Understanding too seems to be a good thing, perhaps better even than knowledge. In a number of recent publications, Duncan Pritchard tries to account for the value of understanding by claiming that understanding is a cognitive achievement and that achievements in general are valuable. In this paper, I argue that coming to understand something need not be an (...) achievement, and so Pritchard's explanation of understanding's value fails. Next, I point out that Pritchard's is just one of many attempts to account for the value of an epistemic state – whether it be understanding, knowledge, or whatever – by appeal to the notion of achievement or, more generally, the notion of success because of ability. Tentatively, I offer reasons to be sceptical about the prospects of any such account. (shrink)

This paper is a short review of Roger Crisp's book Reasons and the Good.

Ernest Sosa presents a new approach to the problems of knowledge and scepticism. He argues for two levels of knowledge, the animal and the reflective, each viewed as a distinctive human accomplishment. Sosa's virtue epistemology illuminates different varieties of scepticism, the nature and status of intuitions, and epistemic normativity.

The appealing idea that knowledge is best understood as a kind of achievement faces significant criticisms, among them Matthew Chrisman’s charge that the whole project rests on a kind of ontological category mistake. Chrisman argues that while knowledge and belief are states, the kind of normativity found in, for example, Sosa’s famous ‘Triple-A’ structure of assessment is only applicable to performances, end-directed events that unfold over time, and never to states. What is overlooked, both by Chrisman and those he criticizes, (...) is a whole range of projects, those like friendship, health, marriage, and sobriety, where the end is not distinct from our pursuit of it. I suggest that such ‘inner projects’ are in fact stative achievements and thus provide a different sort of model for thinking about knowledge as an achievement. Reconceiving the project along these lines also helps to solve another outstanding problem, the charge that being an achievement is not necessary for knowledge because some knowledge, especially testimonial knowledge, is come by with little or no effort. (shrink)

Two varieties of aesthetic virtue are distinguished. Trait virtues are features of the agent’s character, and reflect an overarching concern for aesthetic goods such as beauty and novelty, while faculty virtues are excellences of artistic execution that permit the agent to succeed in her chosen domain. The distinction makes possible a fuller account of why art matters to us—it matters not only insofar as it is aesthetically good, but also in its capacity as an achievement that is creditable to an (...) individual, and as a reflection or embodiment of virtuous motives. (shrink)

It is nearly universally acknowledged among epistemologists that a belief, even if true, cannot count as knowledge if it is somehow largely a matter of luck that the person so arrived at the truth. A striking feature of this literature, however, is that while many epistemologists are busy arguing about which particular technical condition most effectively rules out the offensive presence of luck in true believing, almost no one is asking why it matters so much that knowledge be immune from (...) luck in the first place. I argue that the best explanation for the consensus that luck undermines knowledge is that knowledge is, complications aside, credit-worthy true believing. To make this case, I develop both the notions of luck and credit, and sketch a theory of knowledge in those terms. Furthermore, this account also holds promise for being able to solve the “value problem” for knowledge, and it explains why both internal and external conditions are necessary to turn true belief into knowledge. (shrink)

In this paper I defend the theory that knowledge is credit-worthy true belief against a family of objections, one of which was leveled against it in a recent paper by Jennifer Lackey. In that paper, Lackey argues that testimonial knowledge is problematic for the credit-worthiness theory because when person A comes to know that p by way of the testimony of person B, it would appear that any credit due to A for coming to believe truly that p belongs to (...) the testifier, B, rather than the hearer, A. If so, then knowledge would appear not to be a matter of credit for true belief. I think that the problem this raises actually has little to do with the fact that the knowledge comes by way of testimony, and that similar objections can be formulated in terms of perceptual and memorial knowledge. I will attempt to neutralize these objections by drawing a distinction between credit as praiseworthiness and credit as attributability. (shrink)

Reliabilism has come under recent attack for its alleged inability to account for the value we typically ascribe to knowledge. It is charged that a reliably-produced true belief has no more value than does the true belief alone. I reply to these charges on behalf of reliabilism; not because I think reliabilism is the correct theory of knowledge, but rather because being reliably-produced does add value of a sort to true beliefs. The added value stems from the fact that a (...) reliably-held belief is non-accidental in a particular way. While it is widely acknowledged that accidentally true beliefs cannot count as knowledge, it is rarely questioned why this should be so. An answer to this question emerges from the discussion of the value of reliability; an answer that holds interesting implications for the value and nature of knowledge. (shrink)

Reliabilism has come under recent attack for its alleged inability to account for the value we typically ascribe to knowledge. It is charged that a reliably‐produced true belief has no more value than does the true belief alone. I reply to these charges on behalf of reliabilism; not because I think reliabilism is the correct theory of knowledge, but rather because being reliably‐produced does add value of a sort to true beliefs. The added value stems from the fact that a (...) reliably‐held belief is non‐accidental in a particular way. While it is widely acknowledged that accidentally true beliefs cannot count as knowledge, it is rarely questioned why this should be so. An answer to this question emerges from the discussion of the value of reliability; an answer that holds interesting implications for the value and nature of knowledge. (shrink)

Many philosophers hold that the achievement of one's goals can contribute to one's welfare apart from whatever independent contributions that the objects of those goals or the processes by which they are achieved make. Call this the Achievement View, and call those who accept it achievementists. In this paper, I argue that achievementists should accept both that one factor that affects how much the achievement of a goal contributes to one’s welfare is the amount that one has invested in that (...) goal and that the amount that one has invested in a goal is a function of how much one has personally sacrificed for its sake, not a function of how much effort one has put into achieving it. So I will, contrary to at least one achievementist, be arguing against the view that the greater the amount of productive effort that goes into achieving a goal, the more its achievement contributes to one's welfare. Furthermore, I argue that the reason that the achievement of those goals for which one has personally sacrificed matters more to one’s welfare is that, in general, the redemption of one's self-sacrifices in itself contributes to one’s welfare. Lastly, I argue that the view that the redemption of one's self-sacrifices in itself contributes to one's welfare is plausible independent of whether or not we find the Achievement View plausible. We should accept this view so as to account both for the Shape of a Life Phenomenon and for the rationality of honoring "sunk costs.". (shrink)

Some artworks manifest moral attitudes. I clarify and defend an argument to the effect that these works can be aesthetically better merely because morally good people skilfully produced them.

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.

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.

A view of knowledge—what I call the "Deserving Credit View of Knowledge" —found in much of the recent epistemological literature, particularly among so-called virtue epistemologists, centres around the thesis that knowledge is something for which a subject deserves credit. Indeed, this is said to be the central difference between those true beliefs that qualify as knowledge and those that are true merely by luck—the former, unlike the latter, are achievements of the subject and are thereby creditable to her. Moreover, it (...) is often further noted that deserving credit is what explains the additional value that knowledge has over merely lucky true belief. In this paper, I argue that the general conception of knowledge found in the DCVK is fundamentally incorrect. In particular, I show that deserving credit cannot be what distinguishes knowledge from merely lucky true belief since knowledge is not something for which a subject always deserves credit. (shrink)

Apparently snobbery undermines justification for and legitimacy of aesthetic claims. It is also pervasive in the aesthetic realm, much more so than we tend to presume. If these two claims are combined, a fundamental problem arises: we do not know whether or not we are justified in believing or making aesthetic claims. Addressing this new challenge requires an epistemological story which underpins when, where and why snobbish judgement is problematic, and how appreciative claims can survive. This leads towards a virtue-theoretic (...) account of art appreciation and aesthetic justification, as contrasted with a purely reliabilist one – a new direction for contemporary aesthetics. (shrink)

It is argued that instrumentalizing the value of art does an injustice to artistic appreciation and provides a hostage to fortune. Whilst aestheticism offers an intellectual bulwark against such an approach, it focuses on what is distinctive of art at the expense of broader artistic values. It is argued that artistic appreciation and creativity involve not just skills but excellences of character. The nature of particular artistic or appreciative virtues and vices are briefly explored, such as snobbery, aestheticism and creativity, (...) in order to motivate a virtue theoretic approach. Artistic virtues are intrinsically valuable excellences of character that enable us to create or appreciate all sorts of things from everyday recipes to the finest achievements of humankind. Such an approach offers a new way to resist the age old temptation to instrumentalize the values of art. (shrink)

I defend the view that an individual''s welfareis in one respect enhanced by the achievementof her goals, even when her goals are crazy,self-destructive, irrational or immoral. This``Unrestricted View'''' departs from familiartheories which take welfare to involve only theachievement of rational aims, or of goals whoseobjects are genuinely valuable, or of goalsthat are not grounded in bad reasons. I beginwith a series of examples, intended to showthat some of our intuitive judgments aboutwelfare incorporate distinctions that only theUnrestricted View can support. Then, (...) I show howthe view can be incorporated into a broadertheory of welfare in ways that do not produceimplausible consequences. This in hand, Ifinish by providing a more philosophicalstatement of the Unrestricted View and the casein its favor, and respond to some objections. (shrink)

Using Bernard Suits’s brilliant analysis (contra Wittgenstein) of playing a game, this paper examines the intrinsic value of game-playing. It argues that two elements in Suits’s analysis make success in games difficult, which is one ground of value, while a third involves choosing a good activity for the property that makes it good, which is a further ground. The paper concludes by arguing that game-playing is the paradigm modern (Marx, Nietzsche) as against classical (Aristotle) value: since its goal is intrinsically (...) trivial, its value is entirely one of process rather than product, journey rather than destination. (shrink)

Using Bernard Suits’s brilliant analysis (contra Wittgenstein) of playing a game, this paper examines the intrinsic value of game-playing. It argues that two elements in Suits’s analysis make success in games difficult, which is one ground of value, while a third involves choosing a good activity for the property that makes it good, which is a further ground. The paper concludes by arguing that game-playing is the paradigm modern (Marx, Nietzsche) as against classical (Aristotle) value: since its goal is intrinsically (...) trivial, its value is entirely one of process rather than product, journey rather than destination. (shrink)

Is there a distinctively artistic value that works of art have over and above their aesthetic value? No, Dominic McIver Lopes claims in a recent paper. He canvases various non-aesthetic options for underwriting artistic value. Yet he dispenses too quickly with a promising account of artistic value that would look to the artwork's status as an achievement as the basis of its value: On this achievement-based view, the value of the work of art as art (that is, its distinctively artistic (...) value) consists in the artistically-relevant achievement that it itself constitutes. While I will not seek to vindicate the achievement view itself, I do want to show that Lopes's arguments against it are unsound. Moreover, I argue that Lopes's claim that artistic value might be nothing over and above aesthetic value is untenable, unless it is supplemented by the more basic claim that the aesthetic value in question is something achieved by an artist. Lopes's argument thus only works if he makes recourse to the achievement conception of artistic value that he is keen to reject. (shrink)

Achievements have recently begun to attract increased attention from value theorists. One recurring idea in this budding literature is that one important factor determining the magnitude or value of an achievement is the amount of effort the achiever invested. The aim of this paper is to present the most plausible version of this idea. This advances the current state of debate where authors are invoking substantially different notions of effort and are thus talking past each other. While the concept of (...) effort has been invoked in the philosophical analysis of a number of important concepts such as desert, attention, competence, and distributive justice, it has hardly ever been analyzed itself. This paper makes headway in this regard by discussing three ambiguities in the everyday notion of effort. It continues to develop two accounts of effort and shows how both of them are achievement-enhancing. (shrink)

The idea that there is an important place in philosophical aesthetics for virtues of art is not new, but it is now undergoing a serious re‐examination. Why might this be? What are the principles behind virtue aesthetics? Are there any good arguments for the theory? (I will take virtue aesthetics to be the theory that there is a central place for virtues of art.) What problems does virtue aesthetics face? And what might the implications be of virtue aesthetics both in (...) philosophy and in related disciplines? (shrink)