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.

According to the dominant philosophical tradition, intrinsic value must depend solely upon intrinsic properties. By appealing to various examples, however, I argue that we should at least leave open the possibility that in some cases intrinsic value may be based in part on relational properties. Indeed, I argue that we should even be open to the possibility that an object''s intrinsic value may sometimes depend (in part) on its instrumental value. If this is right, of course, then the traditional contrast (...) between intrinsic value and instrumental value is mistaken. (shrink)

According to the dominant philosophical tradition, intrinsic value must depend solely upon intrinsic properties. By appealing to various examples, however, I argue that we should at least leave open the possibility that in some cases intrinsic value may be based in part on relational properties. Indeed, I argue that we should even be open to the possibility that an object's intrinsic value may sometimes depend on its instrumental value. If this is right, of course, then the traditional contrast between intrinsic (...) value and instrumental value is mistaken. (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 paper argues that the final value of an object-i.e., its value for its own sake-need not be intrinsic. Extrinsic final value, which accrues to things in virtue of their relational rather than internal features, cannot be traced back to the intrinsic value of states that involve these things together with their relations. On the contrary, such states, insofar as they are valuable at all, derive their value from the things involved. The endeavour to reduce thing-values to state-values is largely (...) motivated by a mistaken belief that appropriate responses to value must consist in preferring and/or promoting. A pluralist approach to value analysis obviates the need for reduction: the final value of a thing or person can be given an independent interpretation in terms of the appropriate thing- or person-oriented responses: admiration, love, respect, protection, care, cherishing, etc. (shrink)