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)

_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.

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)

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)

Talbot Brewer offers a new approach to ethical theory, founded on a far-reaching reconsideration of the nature and sources of human agency.

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)

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.

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)

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)

The outcome of criticism is a perception. Does this mean that criticism cannot count as a rational process? For it to do so, it seems it would have to be possible for there to be an argument for a perception. Yet perceptions do not seem to be the right sort of item to serve as the conclusions of arguments. Is this appearance borne out? I examine why perceptions might not be able to play that role, and explore what would have (...) to be true of critical discourse for those obstacles to be circumvented. (shrink)

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)

Painful pains are, paradigmatically, unpleasant and motivating. The dominant view amongst philosophers and pain scientists is that these two features are essentially related and sufficient for painfulness. In this article, I first offer scientifically informed characterizations of both unpleasantness and motivational oomph and argue against other extant accounts. I then draw on folk-characterized cases and current neurobiological and neurobehavioral evidence to argue that both dominant positions are mistaken. Unpleasantness and motivational oomph doubly dissociate and, even taken together, are insufficient for (...) painfulness. (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)

This second edition features a new 48-page Afterword--1980 updating Professor Beardsley's classic work.

Like most aestheticians today I begin by firmly separating the concept of art from the concept of the aesthetic; unlike them, I conclude by reuniting these concepts in the thesis that the function of art is to promote the aesthetic. I understand the existence of artworks and of artists to be “institutional facts” (though the institution of art is an informal one, not to be confused with formal institutions to which it has given rise, such as museums, academies, etc.), while (...) I take “aesthetic situations,” involving appreciators and objects made, at least in part, to be appreciated, to constitute something approaching a natural kind. Rather than dealing directly with the concept of a function I argue for three theses closely related to the idea that the function of art is aesthetic: that art is better than any other institution at promoting the aesthetic; that art is better at promoting the aesthetic than it is at doing anything else; and that art was intended by its instituters to promote the aesthetic. (shrink)