It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.

The Twin Earth thought experiment invites us to consider a liquid that has all of the superficial properties associated with water (clear, potable, etc.) but has entirely different deeper causal properties (composed of “XYZ” rather than of H2O). Although this thought experiment was originally introduced to illuminate questions in the theory of reference, it has also played a crucial role in empirically informed debates within the philosophy of psychology about people’s ordinary natural kind concepts. Those debates have sought to accommodate (...) an apparent fact about ordinary people’s judgments: Intuitively, the Twin Earth liquid is not water. We present results from four experiments showing that people do not, in fact, have this intuition. Instead, people tend to have the intuition that there is a sense in which the liquid is not water but also a sense in which it is water. We explore the implications of this finding for debates about theories of natural kind concepts, arguing that it supports views positing two distinct criteria for membership in natural kind categories – one based on deeper causal properties, the other based on superficial, observable properties. (shrink)

Some of philosophy's most central concepts, including art, friendship, and happiness, have been argued to be dual character concepts. Their main characteristic is that they encode not only a descriptive dimension but also an independent normative dimension for categorization. This article introduces the class of dual character concepts and discusses various accounts of their content and structure. A specific focus will be placed on their relation to two other classes of concepts, thick concepts and natural kind concepts. The study of (...) dual character concepts not only demonstrates that a wide range of concepts is inherently normative, but it also reveals new possibilities for investigating gender biases, generics, and social roles. (shrink)

A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper I discuss the role of intuition in analytic philosophy of art, to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something (...) as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation and evaluation. (shrink)

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)

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 concise survey, intended for advanced undergraduate students of aesthetics, Alan Goldman focuses on the question of aesthetic value, using many practical examples from painting, music, and literature to make his case. Although he treats a wide variety of views, he argues for a nonrealist view of aesthetic value, showing that the personal element can never be factored out of evaluative aesthetic judgments and explaining why this is so.

This book is an introduction to aesthetics, from the perspective of analytic philosophy. It traces aesthetics from its ancient beginnings through the changes it underwent in the eighteenth, nineteenth, and the first half of the twentieth century. The responses in the 1960s of the cultural theories to these earlier developments are discussed in detail. Five traditional art evaluational theories, Beardsley's and Goodman's evaluational theories, and the author's own evaluational theory are presented. Four miscellaneous topics are discussed - internationalist criticism, symbolism, (...) metaphor, and expression. (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)

In this paper, I provide a descriptive definition of art that is able to accommodate the existence of bad art, while illuminating the value of good art. This, I argue, is something that existing definitions of art fail to do. I approach this task by providing an account according to which what makes something an artwork is the institutional process by which it is made. I argue that Searle’s account of institutions and institutional facts shows that the existence of all (...) institutions is due to their being perceived by their participants to perform some humanly valuable function. I then identify the functions to which the existence of art institutions is due. I then use these functions to provide a reductive institutional definition of art. Finally, in section seven, I examine the account’s consequences for the value of good art. (shrink)

Looking at the philosophical issues raised by food this short and accessible book questions the place food should have in our individual lives. It shows how traditional philosophy and its classic texts can illuminate an everyday subject.

The importance of food in our individual lives raises moral questions from the debate over eating animals to the prominence of gourmet cookery in the popular media. Through philosophy, Elizabeth Telfer discusses issues including our obligations to those who are starving; the value of the pleasure of food; food as art; our duties to animals; and the moral virtues of hospitableness and temperance. Elizabeth Telfer shows how much traditional philosophy, from Plato to John Stuart Mill, has to say to illuminate (...) this everyday yet complex subject. (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.

A comprehensive introduction to current research on the psychology of concept formation and use.

In constructing semantic theories of normative and evaluative terms, philosophers have commonly deployed a certain type of disagreement -based argument. The premise of the argument observes the possibility of genuine disagreement between users of a certain normative or evaluative term, while the conclusion of the argument is that, however differently those speakers employ the term, they must mean the same thing by it. After all, if they did not, then they would not really disagree. We argue that in many of (...) the cases in which this argument is deployed, the conclusion not only fails to follow from the premises, but is very likely false. Disagreements between speakers who do not mean the same things by their words are common, genuine, and not easily distinguished from ordinary disagreements over the truth of literally expressed content. We make this case by developing the notion of a metalinguistic negotiation, an exchange in which speakers tacitly negotiate the proper deployment of some linguistic expression in a context. Metalinguistic negotiations express disagreements over information that is conveyed pragmatically and about what concepts should be deployed in the context at hand. We argue that neither of these features poses any obstacle to metalinguistic negotiations serving to express genuine, substantive disagreements that can be well worth engaging in. Contrary to what has been widely assumed in the literature, many normative and evaluative disputes—among ordinary speakers and even among philosophers themselves—may be of exactly this type, a conclusion with important consequences for both the subject matter and the methodology of metanormative theory. (shrink)

Psychologists of concepts’ traditional assumption that there are many properties common to all concepts has been subject to devastating critiques in psychology and in the philosophy of psychology. However, it is currently unclear what approach to concepts is best suited to replace this traditional assumption. In this article, we compare two competing approaches, the Heterogeneity Hypothesis and the hybrid theories of concepts, and we present an empirical argument that tentatively supports the former over the latter.