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)

Peter Goldie has argued for a virtue theory of art, analogous to a virtue theory of ethics, one in which the skills and dispositions involved in the production and appreciation of art are virtues and not simply mere skills. In this note I highlight a link between the appreciation of art and its production, and explore the implications of such a link for a virtue theory of art.

What is the point of art, and why does it matter to us human beings? The answer that I will give in this paper, following on from an earlier paper on the same subject, is that art matters because our being actively engaged with art, either in its production or in its appreciation, is part of what it is to live well. The focus in the paper will be on the dispositions—the virtues of art production and of art appreciation—that are (...) necessary for this kind of active engagement with art. To begin with, I will argue that these dispositions really are virtues and not mere skills. Then I will show how the virtues of art, and their exercise in artistic activity, interweave with the other kinds of virtue which are exercised in ethical and contemplative activity. And finally, I will argue that artistic activity affords, in a special way, a certain kind of emotional sharing that binds us together with other human beings. (shrink)

This essay aims to show that arrogance corrupts the very qualities that make persons persons. The corruption is subtle but profound, and the key to understanding it lies in understanding the connections between different kinds of arrogance, self-respect, respect for others and personhood. Making these connections clear is the second aim of this essay. It will build on Kant's claim that self-respect is central to living our human lives as persons and that arrogance is, at its core, the failure to (...) respect oneself as a person. (shrink)

In this paper I sketch a virtue theory of art, analogous to a virtue theory of ethics along Aristotelian lines. What this involves is looking beyond a parochial conception of art understood as work of art, as product, to include intentions, motives, skills, traits, and feelings, all of which can be expressed in artistic activity. The clusters of traits that go to make up the particular virtues of art production and of art appreciation are indeed virtues in part because, when (...) they are expressed in artistic activity, that activity is chosen for its own sake, ‘under the concept of art’; and also they are virtues in part because, when they are so expressed, the activities are themselves partly constitutive of human well-being, along with other activities, including leading an ethical life, and what Aristotle called contemplation. With a virtue theory of art before us, we can begin to see the point of art, to see why art matters to us as human beings. (shrink)

I first sketch an account of humility as a character trait in which we are unimpressed with our good, envied, or admired features, achievements, etc., where these lack significant salience for our image of ourselves, because of the greater prominence of our limitations and flaws. I situate this view among several other recent conceptions of humility (also called modesty), dividing them between the inward-directed and outward-directed, distinguish mine from them, pose problems for each alternative account, and show how my understanding (...) of humility captures truths present but exaggerated in several of them. Responding to some problems for my view, including what I call “Driver’s Paradox”(i.e., the strangeness of someone’s proclaiming ‘I’m humble!’), I suggest that some over-ambitious claims about our moral responsibilities may indicate a lack of proper humility. I discuss the relationship of the character trait of humility both to what humiliates and to what humbles, concluding with consideration of the background assumptions against which, and the circumstances in which, humility may reasonably be classified as a moral virtue. (shrink)

I shall hear address the question of whether or not feminist philosophers should accept Kantian markers for the boundary between the aesthetic and nonaesthetic realms. I shall look at the way gender operates at the point in Kant's philosophy at which the aesthetic and ethical attitudes intersect: in the experience of the sublime. As we shall see, the later developments within the Kantian system mean that women fit comfortably neither side of the aesthetic/ethical divide and, indeed, fall outside personhood altogether.

Is there tension in a view of the conditions of being in a proper position to make aesthetic evaluations that is committed to aesthetic autonomy and norms of exposure? I define ‘aesthetic autonomy’ in terms of the Kantian idea that in order to make a proper aesthetic evaluation, one must rely on oneself rather than on any outside source. I define ‘norms of exposure’ in terms of the Humean idea that practice and aesthetic education are conditions of proper aesthetic evaluation. (...) Prima facie, these two commitments point toward competing accounts of whether exposure is a condition of being in a position to make proper aesthetic evaluations. However, I argue that a closer look at the Kantian position reveals that aesthetic exposure is a condition of being able to make aesthetic evaluations in an autonomous way in the Kantian framework. (shrink)

This chapter explores a species of false modesty, false intellectual humility, which is defined as affected or pretended intellectual humility concealing intellectual arrogance. False intellectual humility is situated in a virtue epistemological framework, where it is contrasted with intellectual humility, understood as excellence in self-attribution of intellectual weakness. False intellectual humility characteristically takes the form of insincere expressions of ignorance or uncertainty – as when dogmatically committed conspiracy theorists insist that they just want to know what’s going on – and, (...) in such cases, false intellectual humility is a kind of false skepticism or false fallibilism. In connection with this, the chapter further explores the relationship between the concepts of intellectual humility, skepticism, and fallibilism. A distinction can be drawn between the virtues of intellectual humility, skepticism, and fallibilism, but the traditional association of skepticism and fallibilism with intellectual humility is vindicated by the fact that the virtues of intellectual humility, skepticism, and fallibilism overlap. (shrink)

Arrogance is traditionally regarded as among the worst of human vices. Kant’s discussion of one kind of arrogance as a violation of the categorical moral duty to respect other persons gives familiar support for this view. However, I argue that what Kant says about the ways in which another kind of arrogance is opposed to different kinds of self-respect reveals how profoundly vicious arrogance can be. As a failure of self-respect, arrogance is the Ur-Vice that corrupts moral agency and rational (...) judgment. As its contrary, self-respect is thus morally vital: it is the first condition of the possibility of genuine moral agency and judgment. There are also important gender dimensions to arrogance: although women are called haughty, supercilious, disdainful, even imperious or presumptuous, they are rarely called arrogant, perhaps because arrogance is an exercise of power. I consider, then, whether despite the Kantian condemnation of it, something that is properly called "arrogance" might be, in contexts of oppression, a liberatory virtue of self-respect that oppressed peoples ought to cultivate. (shrink)

This article discusses conceptions of modesty and humility and their key features. It gives a brief historical overview of debates about whether or not they’re really virtues at all. It also discusses theories of modesty and humility that root them in the presence or absence of particular beliefs, emotions, desires, and attention. it also discusses related phenomena in epistemology: rational limits on self-ascription of error, attitudes to disagreement, and openness to alternative views.

Recently, Kant’s account of aesthetic autonomy has received attention from those interested in a range of issues in aesthetics, including the subjectivity of aesthetic judgment, quasi-realism, aesthetic testimony, and aesthetic normativity. Although these discussions have shed much light on the implications of Kant’s account of aesthetic autonomy, the phenomenon of aesthetic autonomy itself tends to be under-described. Commentators often focus on the negative aspect of this phenomenon, i.e., the sense in which an aesthetic judgment cannot be grounded on the testimony (...) of others. However, on Kant’s view, autonomy is a positive phenomenon, something that involves self-determination and self-legislation. My aim in this paper is to clarify this positive aspect of Kantian aesthetic autonomy. In order to defend my interpretation of aesthetic autonomy, I appeal to another key concept in Kant’s aesthetics, viz., ‘common sense’. I claim that, for Kant, aesthetic common sense, which we acquire through aesthetic education, is what makes aesthetic self-determination and self-legislation, hence aesthetic autonomy, possible. (shrink)

Matthew Kieran has recently argued that those he calls ‘appreciative snobs’ go wrong by valuing appreciative objects primarily because of their ability to raise the snob’s social status, what I call social contagion snobbery. In this paper, I argue that there are at least two other ways that snobbery commonly manifests itself in appreciative contexts, what I call attitudinal snobbery and contextual snobbery. As it turns out, all three snobs—Kieran’s social-contagion snob, the attitudinal snob, and the contextual snob—represent distinct ways (...) that appreciative judgments can go wrong because of how socio-hierarchical elements figure into the snob’s appreciative judgments. (shrink)

Intellectual servility is a vice opposing proper pride about one's intellectual achievements. Intellectual timidity is also a vice; it is manifested in a lack of proper concern for others’ esteem. This paper offers an account of the nature of these vices and details some of the epistemic harms that flow from them. I argue that servility, which is often the result of suffering humiliation, is a form of damaged self-esteem. It is underpinned by attitudes serving social-adjustive functions and causes ingratiating (...) behaviors. Timidity, which is habituated through self-silencing, is underpinned by negative attitudes toward the intellectual worth of the self, which serve a defensive function. Like servility, timidity is an obstacle to the acquisition and transmission of knowledge and especially knowledge about oneself. (shrink)

The aim of this paper is to explore Kant’s account of normativity through the prism of the distinction between the natural and the human sciences. Although the pragmatic orientation of the human sciences is often defined in contrast with the theoretical orientation of the natural sciences, I show that they are in fact regulated by one and the same norm, namely reason’s demand for autonomy.

What is intellectual humility? In this essay, we aim to answer this question by assessing several contemporary accounts of intellectual humility, developing our own account, offering two reasons for our account, and meeting two objections and solving one puzzle.

Intellectual humility is a hot topic. One of the key questions the literature is exploring is definitional: What is intellectual humility? In their recent paper, “Intellectual Humility: Owning our Limitations,” Dennis Whitcomb, Heather Battaly, Jason Baehr, and Daniel Howard-Snyder have proposed an answer: Intellectual humility is “proper attentiveness to, and owning of, one’s intellectual limitations”. I highlight some limitations of the limitations-owning account of intellectual humility. And in conclusion, I suggest that ultimately these are not limitations that any viable account (...) of intellectual humility should own and that Whitcomb et al. should revise their view accordingly. (shrink)

This paper will be broken down into four sections. In §1, I try to assuage a worry that intellectual humility is not really an intellectual virtue. In §2, we will consider the two dominant accounts of intellectual humility in the philosophical literature—the low concern for status account the limitations-owing account—and I will argue that both accounts face serious worries. Then in §3, I will unpack my own view, the doxastic account of intellectual humility, as a viable alternative and potentially a (...) better starting place for thinking about this virtue. And I’ll conclude in §4 by trying to defend the doxastic account against some possible objections. (shrink)

In this paper, we explore the literature on cognitive heuristics and biases in light of virtue epistemology, specifically highlighting the two major positions—agent-reliabilism and agent-responsibilism —as they apply to dual systems theories of cognition and the role of motivation in biases. We investigate under which conditions heuristics and biases might be characterized as vicious and conclude that a certain kind of intellectual arrogance can be attributed to an inappropriate reliance on Type 1, or the improper function of Type 2, cognitive (...) processes. By the same token, the proper intervention of Type 2 processes results in the virtuous functioning of our cognitive systems. Moreover, the role of motivation in attenuating cognitive biases and the cultivation of certain epistemic habits points to the tenets of agent-responsibilism.. (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)

This paper offers a novel, secular account of the virtue of humility. There are only two such accounts in recent philosophical literature: one defended by Julia Driver, the other by George Schueler. Driver attaches the virtue of humility to people who underestimate their merits, or lack beliefs about their merits altogether. Schueler thinks that humility requires indifference to how we are regarded vis-à-vis our accomplishments. This paper brings out the limitations of those accounts and constructs a new one which is (...) free of them. The new account derives directly from the under-appreciated approach defended a century ago by Hastings Rashdall, who developed a secular (albeit religiously-inspired) account of humility according to which true humility reflects love for one's neighbour. After indicating the flaws in Rashdall's approach, I develop an account based on his intuitions. Specifically, I argue that humility requires suppressing our egos when they lead us to neglect or disregard other duties. Humility comprises two dimensions: a private dimension, for when we uphold self-regarding duties rather than succumb to the temptations of ego; and a public dimension, for when we display fidelity to other-regarding duties at the expense of the pleasures of ego. (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)

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)

In this paper I provide an account of two forms of intellectual arrogance which cause the epistemic practices of conversational turn-taking and assertion to malfunction. I detail some of the ethical and epistemic harms generated by intellectual arrogance, and explain its role in fostering the intellectual vices of timidity and servility in other agents. Finally, I show that arrogance produces ignorance by silencing others (both preventing them from speaking and causing their assertions to misfire) and by fostering self-delusion in the (...) arrogant themselves. (shrink)

It has been argued that some recent experimental findings about the mere exposure effect can be used to argue for aesthetic antirealism: the view that there is no fact of the matter about aesthetic value. The aim of this paper is to assess this argument and point out that this strategy, as it stands, does not work. But we may still be able to use experimental findings about the mere exposure effect in order to engage with the aesthetic realism/antirealism debate. (...) However, this argument would need to proceed very differently and would only support a much more modest version of aesthetic antirealism. (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)

For Kant and Hill, self-respect is a morally central and morally powerful concern. Both have also had some things to say in moral praise of humility and in condemnation of arrogance, a trait widely regarded as the vice to which the virtue of humility is the prevention and cure. Arrogance can easily be seen as a failure to respect both other people and oneself. It might be thought, however, that humility and self-respect are in tension, if not at odds with (...) one another, for the one is widely thought to involve a low opinion of one’s worth and the other a high regard for it. My essay focuses on understanding, with the help of Kant and Hill, relations among various kinds of humility, arrogance, and self-respect. I argue that humility is not the virtue opposing arrogance, but rather, self-respect is, and that humility is at best an ancillary, instrumental, contextual virtue and the servant of self-respect; but at worst, it is as serious a vice as arrogance, indeed, an aspect of it. (shrink)

Theorists have recently been exploring the prospects for a virtue-centred approach to aesthetics. Virtue aesthetics encourages a re-focusing of philosophical attention onto the aesthetic character traits of agents, in the same way that virtue ethics and virtue epistemology have encouraged us to focus on moral and intellectual traits. In this paper, I aim to contribute to the development of virtue aesthetics by discussing aesthetic courage, the aesthetic analogue of one of the most widely acknowledged moral virtues. In addition to proposing (...) an account of the nature of this trait, I also argue that aesthetic courage is vital for any sort of aesthetically virtuous life. It is not possible to possess any aesthetic virtue without possessing aesthetic courage. It is important, therefore, for any future development of virtue aesthetics to acknowledge the central importance of aesthetic courage. (shrink)

When I began working on my dissertation on Kant’s aesthetic theory in 1971, I was able to read virtually all of the extant literature on the Critique of Judgment in English, German, andFrench going back to Hermann Cohen’s Kants Begr¨undung der A¨ sthetik of 1889, while also reading most of what I wanted to read of eighteenth-century British and German aesthetics before Kant—not because I had paid my dues to Evelyn Wood, but just because there was not all that much (...) to read.1 I pity the graduate student who sets out to write a dissertation on the third Critique now: since Donald Crawford, Francis Coleman, Jens Kulenkampff, Eva Schaper, and I published books on Kant’s aesthetics between 1974 and 1979 there has been a continuing flood of articles (this journal receives more submissions on Kant’s aesthetics annually than on any other historical topic) and books, a flood that has only accelerated since 2000. Confining myself only to monographs and anthologies on Kant’s aesthetics or the third Critique as a whole (but not those devoted exclusively to teleology) in English, German, and French on my shelves, and no doubt missing some, at least in German and French, I find twenty-eight monographs and anthologies published in the period between 1980 and 1999 and another twenty-seven just since 2000. (Indeed, two more have arrived on my desk since this article was written.)3 Someone setting out to work on the third Critique now has at least as many books from the last decade alone to read as I had in 1971 from the eight preceding decades. The present review will make only a small dent in this pile: I will discuss just five monographs and one introduction to the third Critique, all published in English in 2006 and 2007. (shrink)

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.

We praise and admire creative people in virtually every domain from the worlds of art, fashion and design to the fields of engineering and scientific endeavour. Picasso was one of the most influential artists of the twentieth century, Einstein was a creative scientist and Jonathan Ive is admired the world over as a great designer. We also sometimes blame, condemn or withhold praise from those who fail creatively; hence we might say that someone's work or ideas tend to be rather (...) derivative and uninspired. Institutions and governmental advisory bodies sometimes aspire, claim or exhort us to enable individual creativity, whether this is held to be good for the individual as such or in virtue of promoting wider socio-economic goods. It is at least a common thought that people are more self-fulfilled if they are creative and society more generally is held to be all the better for enabling individual creativity. (shrink)

Though much of what we learn about the world comes from trusting testimony, the status of aesthetic testimony – testimony about aesthetic value – is equivocal. We do listen to art critics but our trust in them is typically only provisional, until we are in a position to make up our own mind. I argue that provisional trust (but not full trust) in testimony typically allows us to develop and use aesthetic understanding (understanding why a work of art is valuable, (...) or similar); and aesthetic understanding is an essential component of aesthetic virtue. Aesthetic virtue is the orientation of a whole person towards aesthetic value and aesthetic reasons, through action, non‐cognitive and cognitive attitudes. The ideal (aesthetically virtuous) way to make aesthetic judgements is through your own aesthetic understanding. (shrink)

It is argued that two plausible goals of the educational enterprise are (i) to develop the intellectual character, and thus the intellectual virtues, of the student, and (ii) to develop the student's intellectual self-confidence, such that they are able to have conviction in what they believe. On the face of it, however, these two educational goals seem to be in tension with one another, at least insofar as intellectual humility is a genuine intellectual virtue. This is because intellectual humility seems (...) to require that one does not have conviction in one's beliefs. It is argued that this tension can be avoided so long as we have the right account of intellectual humility in play. This enables us to understand what educating for intellectual humility might involve, and how it might co-exist with the educational development of a student's intellectual self-confidence. (shrink)

It is widely accepted that one strong motivation for adopting a conciliatory stance with regard to the epistemology of peer disagreement is that the non-conciliatory alternatives are incompatible with the demands of intellectual character, and incompatible with the virtue of intellectual humility in particular. It is argued that this is a mistake, at least once we properly understand what intellectual humility involves. Given some of the inherent problems facing conciliatory proposals, it is maintained that non-conciliatory approaches to epistemic peer disagreement (...) are thus on much stronger dialectical ground than many suppose, including some defenders of this line. In particular, non-conciliatory proposals can resist the idea that epistemic peer disagreement directly weakens one’s epistemic justification, as conciliatory views maintain. This means that the epistemic justification that our beliefs in this regard enjoy, and thus our knowledge, is more secure than conciliatory approaches to epistemic peer disagreement would suggest. (shrink)