Agents sometimes act for normative reasons—for reasons that objectively favor their actions. Jill, for instance, calls a doctor for the normative reason that Kate is injured. In this article I explore a dispositional approach to acting for a normative reason. I argue for the need of epistemic, motivational, and executional dispositional elements of a theory of acting for a normative reason. Dispositions play a mediating role between, on the one hand, the normative reason and its normative force, and the action (...) on the other hand. Thereby, they help to deal with problem cases such as cases of deviant causal chains and improper instrumental motivation. (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)

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 philosophical literature on reasoning is dominated by the assumption that reasoning is essentially a matter of following rules. This paper challenges this view, by arguing that it misrepresents the nature of reasoning as a personal level activity. Reasoning must reflect the reasoner’s take on her evidence. The rule-following model seems ill-suited to accommodate this fact. Accordingly, this paper suggests replacing the rule-following model with a different, semantic approach to reasoning.

Emotions shape the landscape of our mental and social lives. Like geological upheavals in a landscape, they mark our lives as uneven, uncertain and prone to reversal. Are they simply, as some have claimed, animal energies or impulses with no connection to our thoughts? Or are they rather suffused with intelligence and discernment, and thus a source of deep awareness and understanding? In this compelling book, Martha C. Nussbaum presents a powerful argument for treating emotions not as alien forces but (...) as highly discriminating responses to what is of value and importance. She explores and illuminates the structure of a wide range of emotions, in particular compassion and love, showing that there can be no adequate ethical theory without an adequate theory of the emotions. This involves understanding their cultural sources, their history in infancy and childhood, and their sometimes unpredictable and disorderly operations in our daily lives. (shrink)

'We desire all and only those things we conceive to be good; we avoid what we conceive to be bad.' This slogan was once the standard view of the relationship between desire or motivation and rational evaluation. Many critics have rejected this scholastic formula as either trivial or wrong. It appears to be trivial if we just define the good as 'what we want', and wrong if we consider apparent conflicts between what we seem to want and what we seem (...) to think is good. In Appearances of the Good, Sergio Tenenbaum argues that the old slogan is both significant and right, even in cases of apparent conflict between our desires and our evaluative judgements. Maintaining that the good is the formal end of practical inquiry in much the same way as truth is the formal end of theoretical inquiry, he provides a fully unified account of motivation and evaluation. (shrink)

_Philosophy of Art_ is a textbook for undergraduate students interested in the topic of philosophical aesthetics. It introduces the techniques of analytic philosophy as well as key topics such as the representational theory of art, formalism, neo-formalism, aesthetic theories of art, neo-Wittgensteinism, the Institutional Theory of Art. as well as historical approaches to the nature of art. Throughout, abstract philosophical theories are illustrated by examples of both traditional and contemporary art including frequent reference to the avant-garde in this way enriching (...) the readers understanding of art theory as well as the appreciation of art. Unique features of the textbook are: * chapter summaries * summaries of major theories of art and suggested analyses of the important categories used when talking and thinking of art * annotated suggested readings at the ends of chapters. Also available in this series: _Epistemology_ Pb: 0-415-13043-3: £12.99 _Ethics_ Pb: 0-415-15625-4: £11.99 _Metaphysics_ Pb: 0-415-14034-X: £12.99 _Philosophy of Mind_ Pb: 0-415-13060-3: £11.99 _Philosophy of Religion_ Pb: 0-415-13214-2: £12.99. (shrink)

Joining the debate over the roles of reason and appetite in the moral mind, In Praise of Desire takes the side of appetite. Acting for moral reasons, acting in a praiseworthy manner, and acting out of virtue are simply acting out of intrinsic desires for the right or the good.

Beauty is a contested concept insofar as it seeks to mark a categorical distinction among the sources of pleasure, typically in terms of oppositions such as objective/subjective, universal/particular, necessity/contingency. Kant represents a culmination of this tradition in defining the judgment of beauty in terms of the requirement for universal agreement, modeling the judgment of beauty as closely as possible to ordinary factual judgments. A different tradition of thinking about beauty, however, while still seeking to mark a categorical distinction by reference (...) to the idea of necessity, finds the relevant sense of necessity not in conditions of agreement but necessities of erotic love and the sense of requirement felt toward its objects. This paper explores the consequences of taking this other tradition seriously, using Proust as a representative exemplar, as a way both of making sense of some of the features Kant ascribes to the concept of the beautiful, while avoiding the paradoxes stemming from his focus on the conditions for universal agreement. (shrink)

In this paper, I explore a question about deductive reasoning: why am I in a position to immediately infer some deductive consequences of what I know, but not others? I show why the question cannot be answered in the most natural ways of answering it, in particular in Descartes’s way of answering it. I then go on to introduce a new approach to answering the question, an approach inspired by Hume’s view of inductive reasoning.

In some previous work, I tried to give a concept-based account of the nature of our entitlement to certain very basic inferences (see the papers in Part III of Boghossian 2008b). In this previous work, I took it for granted, along with many other philosophers, that we understood well enough what it is for a person to infer. In this paper, I turn to thinking about the nature of inference itself. This topic is of great interest in its own right (...) and surprisingly understudied by philosophers. A correct understanding of inference promises to shed light on a number of important topics. In particular, it threatens to undermine the sort of concept-based story about entitlement to which I had previously been attracted. (shrink)

NOTE: this is a substantial revision of a previously uploaded draft. Intuitions are often thought of as inputs to theoretical reasoning. For example, you might form a belief by taking an intuition at face value, or you might take your intuitions as starting points in the method of reflective equilibrium. The aim of this paper is to argue that in addition to these roles intuitions also play action-guiding roles. The argument proceeds by reflection on the transmission of justification through inference. (...) According to inferential internalists, in order to gain justification for believing the conclusion of an argument by inferring it from the premises in that argument one must “see” that the premises support the conclusion. I motivate this view and endorse the idea that one’s “seeing” such a support relation consists of one’s having an intuition. In a number of recent papers, Paul Boghossian has pressed a regress argument against inferential internalism inspired by Lewis Carroll’s dialogue “What the Tortoise Said to Achilles.” I develop a response to Bogossian’s argument according to which intuitions work like mental imperatives and inferences are mental actions performed by obeying them. After developing this response to Boghossian’s argument, I take up the question of what it is in virtue of which intuitions play a guidance role, when they do so. (shrink)

Introductory Remarks IN A MAJOR WORK planned for the near future I will attempt to develop a non-formal ethics of Values on the broadest possible basis of ...

Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.

This paper argues that an emotion is a state of affectively perceiving its intentional object as falling under a "thick affective concept" A, a concept that combines cognitive and affective aspects in a way that cannot be pulled apart. For example, in a state of pity an object is seen as pitiful, where to see something as pitiful is to be in a state that is both cognitive and affective. One way of expressing an emotion is to assert that the (...) intentional object of the emotion falls under the thick affective concept distinctive of the emotion. I argue that the most basic kind of moral judgment is is this category. It has the form "That is A" (pitiful, contemptible, rude, etc.). Such judgments combine the features of cognitivism and motivational judgment internalism, an advantage that explains why we find moral weakness problematic in spite of its ubiquity. I then outline a process I call "thinning" the judgment, which explains how moral strength, weakness, and apathy arise. I argue that this process is necessary for moral reasoning and communication, in spite of its disadvantage in disengaging the agent's motivating emotion from the judgment. (shrink)

Consider the following three propositions: (R) Artworks necessarily have aesthetic properties that are relevant to their appreciation as artworks. (S) Aesthetic properties necessarily depend, at least in part, on properties perceived by means of the five senses. (X) There exist artworks that need not be perceived by means of the five senses to be appreciated as artworks. The independent plausibility and apparent joint inconsistency of these three propositions give rise to what I refer to as ‘the problem of non-perceptual art’. (...) Assuming that the propositions are independently plausible and jointly inconsistent, there will be three ways of solving the problem: you may affirm (R) and (S) while denying (X); you may affirm (S) and (X) while denying (R); or you may affirm (R) and (X) while denying (S). The first of these, once the orthodox solution, has been displaced in recent years by the second. The third has never really been defended. I defend it here. If successful, my defence will have shown that there is reason to deny the existence of non-aesthetic art and no reason to believe that art is not essentially aesthetic. (shrink)

It has often been claimed that adequate aesthetic judgements must be grounded in the appreciator's first-hand experience of the item judged. Yet this apparent truism is misleading if adequate aesthetic judgements can instead be based on descriptions of the item or on acquaintance with some surrogate for it. In a survey of responses to such challenges to the apparent truism, I identify several contentions presented in its favour, including stipulative definitions of ‘aesthetic judgement’, assertions about conceptual gaps between determinate aesthetic (...) properties and even the most perfect descriptions, and claims about the holistic and sensibility-relative character of aesthetic qualities and values. With reference to considerations advanced by Frank Sibley, Alan H. Goldman, and particularists and anti-particularists in meta-ethics, I contend that strong versions of the apparent truism lack sufficient warrant. Two successors are proposed, however. One reframes the thesis in terms of our contingently limited descriptive and theoretical capacities with regard to a subset of the aesthetic qualities of extraordinary works; the second involves a shift from epistemic to axiological matters: what even the most perfect descriptions cannot provide, and in some cases spoil, is our gauging of an item's inherent, experiential value. (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.

Aesthetics is a normative domain. We evaluate artworks as better or worse, good or bad, great or grim. I will refer to a positive appraisal of an artwork as an aesthetic appreciation of that work, and I refer to a negative appraisal as aesthetic depreciation. (I will often drop the word “aesthetic.”) There has been considerable amount of work on what makes an artwork worthy of appreciation, and less, it seems, on the nature of appreciation itself. These two topics are (...) related, of course, because they nature of appreciation may bear on what things are worthy of that response, or at least on what things are likely to elicit it. So I will have some things to say about the latter. But I want to focus in this discussion on appreciation itself. When we praise a work of art, when we say it has aesthetic value, what does our praise consist in? This is a question about aesthetic psychology. I am interested in what kind of mental state appreciation is. What kind of state are we expressing when we say a work of art is “good”? This question has parallels in other areas of value theory. In ethics, most notably, there has been much attention lavished on the question of what people express when they refer to an action as “morally good.” One popular class of theories, associated with the British moralists and their followers, posits a link between moral valuation and emotion. To call an act morally good is to express an emotion toward that act. I think this approach to morality is right on target (Prinz, 2007). Here I want to argue that an emotional account of aesthetic valuation is equally promising. There are important differences between the two domains, but both have an affective foundation. I suspect that valuing of all kinds involves the emotions. Here I will inquire into the role of emotions in aesthetic valuing. I will not claim that artworks express emotions or even that they necessarily evoke emotions.. (shrink)

A common objection to sense-datum theories of perception is that they cannot give an adequate account of the fact that introspection indicates that our sensory experiences are directed on, or are about, the mind-independent entities in the world around us, that our sense experience is transparent to the world. In this paper I point out that the main force of this claim is to point out an explanatory challenge to sense-datum theories.

The aim of this chapter is to defend the claim that “the intentional is normative” against a number of objections, including those that Georges Rey has presented in his contribution to this volume. First, I give a quick sketch of the principal argument that I have used to support this claim, and briefly comment on Rey’s criticisms of this argument. Next, I try to answer the main objections that have been raised against this claim. First, it may seem that the (...) claim that “the intentional is normative” is just hopelessly Panglossian: doesn’t this claim just wilfully ignore all the mountains of evidence that we have for the sheer ubiquity and pervasiveness of human irrationality? Secondly, the claim that intentional mental states are essentially normative seems to be intended as a purely philosophical, non-empirical account of the nature of these mental states: but why should we think that purely philosophical reflection can tell us anything interesting about the nature of the mind -- shouldn’t we look to empirical psychology to enlighten us about such matters? I argue that neither of these objections succeeds in undermining my version of the claim that "the intentional is normative". (shrink)

Are mental states "in the head"? Or do they intrinsically involve aspects of the subject's physical and social context? This volume presents a number of essays dealing with the compass of the mind. The contributors broach a range of issues with a commmon view that physical and social magnets do act upon mental states. The approaches that run through these papers make the volume challenging to cognitive psychologists, theorists of artificial intelligence, social theorists, and philosophers.

It is impossible to hold patently contradictory beliefs in mind together at once. Why? Because we know that it is impossible for both to be true. This impossibility is a species of rational necessity, a phenomenon that uniquely characterizes the relation between one person's beliefs. Here, Eric Marcus argues that the unity of the rational mind--what makes it one mind--is what explains why, given what we already believe, we can't believe certain things and must believe certain others in this special (...) sense. What explains this is that beliefs, and the inferences by which we acquire them, are constituted by a particular kind of endorsement of those very states and acts. This, in turn, entails that belief and inference are essentially self-conscious: to hold a belief or to make an inference is at the same time to know that one does. An examination of the nature of belief and inference, in light of the phenomenon of rational necessity, reveals how the unity of the rational mind is a function of our knowledge of ourselves as bound to believe the true. Rational self-consciousness is the form of mental togetherness. (shrink)

How homogenous are the sources of human motivation? Textbook Humeans hold that every human action is motivated by desire, thus any heterogeneity derives from differing objects of desire. Textbook Kantians hold that although some human actions are motivated by desire, others are motivated by reason. One question in this vicinity concerns whether there are states such that to be in one is at once take the world to be a certain way and to be motivated to act: the state-question. My (...) question here is different: whether passion and reason constitute distinct sources of human motivation: the source question. In this essay, I defend an affirmative answer to the source-question while remaining neutral on the state-question. I distinguish between what I call orectic desires, which are associated with the appetites, and anorectic desires, which are associated with judgments of the good. I argue that the two sorts of desires constitute distinct sources of motivation initially on the basis of their differing epistemological profiles. Specifically, self-attributions of anorectic desires are governed by the transparency condition, self-attributions of orectic desires are not. It emerges from this discussion that the motivation for performing an action arises in very different ways from each sort of desire. This difference, in turn, is explained by their differing relations to the will. Roughly, an orectic desire influences the will, but an anorectic desire is the will. The motivation to perform some of our actions derives simply from the determination that they are to-be-done—from reason. (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)

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)

Sometimes, there are reasons for which we believe, intend, resent, decide, and so on: these reasons are the “bases” of the latter, and the explanatory relation between these bases and the latter is what I will call “the basing relation.” What kind of explanatory relation is this? Dispositionalists claim that the basing relation consists in the agent’s manifesting a disposition to respond to those bases by having the belief, intention, resentment, and so on, in question. Representationalists claim that the basing (...) relation consists in the agent’s representing the bases as justifying the belief, intention, resentment, and so on, in question. This article shows that an adequate account of the basing relation requires a particular refinement and combination of these two views. On the hybrid account defended here, the basing relation involves a disposition exercise that is individuated by the agent’s object-involving de se representation of that very exercise as justifying. (shrink)

I begin the paper by outlining one classic argument for the guise of the good: that we must think that desires represent their objects favourably in order to explain why they can make actions rational (Quinn 1995; Stampe 1987). But what exactly is the conclusion of this argument? Many have recently formulated the guise of the good as the view that desires are akin to perceptual appearances of the good (Oddie 2005; Stampe 1987; Tenenbaum 2007). But I argue that this (...) view fails to capitalize on the above argument, and that the argument is better understood as favouring a view on which desires are belief-like states. I finish by addressing some countervailing claims made by Avery Archer (2016). (shrink)

Isenbergian particularism is the view that we make no appeal to general principles in criticism. Sibleyan generalism is the view that we do make appeal to general reasons in criticism. I argue that Isenbergian particularism and Sibleyan generalism are compatible one with another. I refer to their conjunction as "critical compatibilism" and argue that we ought to accept it over its rivals: strong particularism (the view that we make appeal neither to general principles nor to general reasons in criticism) and (...) strong generalism (the view that we make appeal both to general principles and to general reasons in criticism). (shrink)

Is it impossible for a person to do something intentionally without knowing that she is doing it? The phenomenon of self-deceived agency might seem to show otherwise. Here the agent is not lying, yet disavows a correct description of her intentional action. This disavowal might seem expressive of ignorance. However, I show that the self-deceived agent does know what she's doing. I argue that we should understand the factors that explain self-deception as masking rather than negating the practical knowledge characteristic (...) of intentional action. This masking takes roughly the following form: when we are deceiving ourselves about what we are intentionally doing, we don't think about our action because it's painful to do so. (shrink)

Opposing a long-standing orthodoxy of the Western philosophical tradition running from ancient Greek thought until the late nineteenth century, Frege argued that psychological laws of thought--those that explicate how we in fact think--must be distinguished from logical laws of thought--those that formulate and impose rational requirements on thinking. Logic does not describe how we actually think, but only how we should. Yet by thus sundering the logical from the psychological, Frege was unable to explain certain fundamental logical truths, most notably (...) the psychological version of the law of non-contradiction--that one cannot think a thought and its negation simultaneously. Irad Kimhi's Thinking and Being marks a radical break with Frege's legacy in analytic philosophy, exposing the flaws of his approach and outlining a novel conception of judgment as a two-way capacity. In closing the gap that Frege opened, Kimhi shows that the two principles of non-contradiction--the ontological principle and the psychological principle--are in fact aspects of the very same capacity, differently manifested in thinking and being. As his argument progresses, Kimhi draws on the insights of historical figures such as Aristotle, Kant, and Wittgenstein to develop highly original accounts of topics that are of central importance to logic and philosophy more generally. Self-consciousness, language, and logic are revealed to be but different sides of the same reality. Ultimately, Kimhi's work elucidates the essential sameness of thinking and being that has exercised Western philosophy since its inception.--. (shrink)

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)

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)

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)

The paper asks under what conditions deductive reasoning transmits justification from its premises to its conclusion. It argues that both standard externalist and standard internalist accounts of this phenomenon fail. The nature of this failure is taken to indicate the way forward: basic forms of deductive reasoning must justify by being instances of 'blind but blameless' reasoning. Finally, the paper explores the suggestion that an inferentialist account of the logical constants can help explain how such reasoning is possible.

There is an important division in the human mind between perception and reasoning. We reason from information that we have already, but perception is a means of taking in new information. Susanna Siegel argues that these two aspects of the mind become deeply intertwined when beliefs, fears, desires, or prejudice influence what we perceive.

How can we motivate ourselves to do what we think we ought? How can we deliberate about personal values and priorities? Bennett Helm argues that standard philosophical answers to these questions presuppose a sharp distinction between cognition and conation that undermines an adequate understanding of values and their connection to motivation and deliberation. Rejecting this distinction, Helm argues that emotions are fundamental to any account of value and motivation, and he develops a detailed alternative theory both of emotions, desires and (...) evaluative judgements and of their rational interconnections. The result is an innovative theory of practical rationality and of how we can control not only what we do but also what we value and who we are as persons. (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)

The Critical Imagination is a study of metaphor, imaginativeness, and criticism of the arts. Since the eighteenth century, many philosophers have argued that appreciating art is rewarding because it involves responding imaginatively to a work. Literary works can be interpreted in many ways; architecture can be seen as stately, meditative, or forbidding; and sensitive descriptions of art are often colourful metaphors: music can 'shimmer', prose can be 'perfumed', and a painter's colouring can be 'effervescent'. Engaging with art, like creating it, (...) seems to offer great scope for imagination. Hume, Kant, Oscar Wilde, Roger Scruton, and others have defended variations on this attractive idea. In this book, James Grant critically examines it. The first half explains the role imaginativeness plays in criticism. To do this, Grant answers three questions that are of interest in their own right. First, what are the aims of criticism? Is the point of criticizing a work to evaluate it, to explain it, to modify our response to it, or something else? Second, what is it to appreciate art? Third, what is imaginativeness? He gives new answers to all three questions, and uses them to explain the role of imaginativeness in criticism. The book's second half focuses on metaphor. Why are some metaphors so effective? How do we understand metaphors? Are some thoughts expressible only in metaphor? Grant's answers to these questions go against much current thinking in the philosophy of language. He uses these answers to explain why imaginative metaphors are so common in art criticism. The result is a rigorous and original theory of metaphor, criticism, imaginativeness, and their interrelations. (shrink)

There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it (...) that knowledge about art changes how one aesthetically evaluates artworks. A profound explanation of this intuitive fact is that perceptual experiences vary with artistic expertise. Cognitive penetration provides an explanatory mechanism for this latter effect. What one knows or otherwise thinks about art may affect, in one of two ways sketched below, how one perceives art. Differences in aesthetic evaluation may follow, either because high-level aesthetic properties can be perceptually represented or because they causally depend on low-level perceptible properties. All of this lends credence to the hypothesis that the expert better judges art because she better perceives art. And she better perceives art because she better knows art. (shrink)

Introduction -- Rational explanation of belief -- Rational explanation of action -- (Non-human) animals and their reasons -- Rational explanation and rational causation -- Events and states -- Physicalism.

Does inferential justification require the subject to be aware that her premises support her conclusion? Externalists tend to answer “no” and internalists tend to answer “yes”. In fact, internalists often hold the strong higher-level requirement that an argument justifies its conclusion only if the subject justifiably believes that her premises support her conclusion. I argue for a middle ground. Against most externalists, I argue that inferential justification requires that one be aware that her premises support her conclusion. Against many internalists, (...) I argue that this higher-level awareness needn’t be doxastic or justified. I also argue that the required higher-level awareness needn’t be caused in some appropriate way, e.g. by a reliable or properly functioning faculty. I suspect that this weaker higher-level requirement is overlooked because, at first glance, it seems absurd to allow nondoxastic, unjustified, and unreliably-caused higher-level awareness to contribute to inferential justification. One of the central goals of this paper is to explain how such weak awareness can make an essential contribution to inferential justification. (shrink)