Hare has written a clear, brief, and readable introduction to ethics which looks at all the fundamental problems of the subject.

Part I The Imperative Mood 'Virtue, then, is a disposition governing our choices '. ARISTOTLE, Eth. Nic. 36 Prescriptive Language. ...

The relativist's central objection to contextualism is that it fails to account for the disagreement we perceive in discourse about "subjective" matters, such as whether stewed prunes are delicious. If we are to adjudicate between contextualism and relativism, then, we must first get clear about what it is for two people to disagree. This question turns out to be surprisingly difficult to answer. A partial answer is given here; although it is incomplete, it does help shape what the relativist must (...) say if she is to do better than the contextualist in securing genuine disagreement. (shrink)

I argue for the possibility of substantive aesthetic disagreements in which both parties speak truly. The possibility of such disputes undermines an argument mobilized by relativists such as Lasersohn (Linguist Philos 28:643–686, 2005) and MacFarlane (Philos Stud 132:17–31, 2007) against contextualism about aesthetic terminology. In describing the facts of aesthetic disagreement, I distinguish between the intuition of dispute on the one hand and the felicity of denial on the other. Considered separately, neither of those phenomena requires that there be a (...) single proposition asserted by one party to an aesthetic dispute and denied by the other. I suggest instead that many such disputes be analyzed as disputes over the selection or appropriateness of a contextually salient aesthetic standard. (shrink)

Richard Wollheim's classic reflection on art considers central questions regarding expression, representation, style, the significance of the artist's intention and the essentially historical nature of art. Presented in a fresh series livery for the twenty-first century, with a specially commissioned preface written by Richard Eldridge, illuminating its continuing importance and relevance to philosophical enquiry, Art and its Objects continues to be a perceptive and engaging introduction to the questions and philosophical issues raised by works of art and the part they (...) play in our culture and society. Wollheim's insights into theories of art, criticism, perception and the nature of aesthetic value make this one of the most influential works on aesthetics of the twentieth century. (shrink)

“There’s no disputing about taste.” That’s got a nice ring to it, but it’s not quite the ring of truth. While there’s definitely something right about the aphorism – there’s a reason why it is, after all, an aphorism, and why its utterance tends to produce so much nodding of heads and muttering of “just so” and “yes, quite” – it’s surprisingly difficult to put one’s finger on just what the truth in the neighborhood is, exactly. One thing that’s pretty (...) clear is that what’s right about the aphorism, that there’s no disputing about taste, isn’t that there’s no disputing about taste. There’s heaps of disputing about taste. People engage in disputes about which movies, music, paintings, literature, meals, furniture, architectural styles, etc. are good, beautiful, tasty, fun, elegant, ugly, disgusting, etc. all the time. This is obvious to anyone who has watched dueling-movie-critics shows, read theater reviews, or negotiated with a group or partner about which movie or restaurant to go to, or which sofa or painting to put in the living room. It takes great care and good aim to fling a brick without hitting somebody who’s engaged in a dispute about taste. (shrink)

It is often assumed that when one party felicitously rejects an assertion made by an- other party, the first party thinks that the proposition asserted by the second is false. This assumption underlies various disagreement arguments used to challenge contex- tualism about some class of expressions. As such, many contextualists have resisted these arguments on the grounds that the disagreements in question may not be over the proposition literally asserted. The result appears to be a dialectical stalemate, with no independent (...) method of determining whether any particular instance of disagreement is over the proposition literally asserted. In this paper, I propose an independent method for assessing whether a disagreement is about what’s literally asserted. Focusing on epistemic modals throughout, I argue that this method provides evidence that some epistemic modal disagreements are in fact not over the proposition literally asserted by the utterance of the epistemic modal sentence. This method provides a way to break the stalemate, and reveals a new data point for theories of epistemic modals to predict—that is, how there can be such modal disagreements. In the rest of the paper, I motivate a general theory of how to predict these kinds of disagreements, and then offer some brief remarks about how contextualist, relativist, and expressivist theories of epistemic modals might accommodate this new data point. (shrink)

The main purpose of this paper is to characterize and compare two forms any relativist thesis can take: indexical relativism and genuine relativism. Indexical relativists claim that the implicit indexicality of certain sentences is the only source of relativity. Genuine relativists, by contrast, claim that there is relativity not just at the level of sentences, but also at propositional level. After characterizing each of the two forms and discussing their difficulties, I argue that the difference between the two is significant.

The paper outlines a view of normativity that combines elements of relativism and expressivism, and applies it to normative concepts in epistemology. The result is a kind of epistemological anti-realism, which denies that epistemic norms can be (in any straightforward sense) correct or incorrect; it does allow some to be better than others, but takes this to be goal-relative and is skeptical of the existence of best norms. It discusses the circularity that arises from the fact that we need to (...) use epistemic norms to gather the facts with which to evaluate epistemic norms; relatedly, it discusses how epistemic norms can rationally evolve. It concludes with some discussion of the impact of this view on "ground level" epistemology. (shrink)

Recently, a number of theorists (MacFarlane (2003, 2011), Egan et al. (2005), Egan (2007), Stephenson (2007a,b)) have argued that an adequate semantics and pragmatics for epistemic modals calls for some technical notion of relativist truth and/or relativist content. Much of this work has relied on an empirical thesis about speaker judgments, namely that competent speakers tend to judge a present-tense bare epistemic possibility claim true only if the prejacent is compatible with their information. Relativists have in particular appealed to judgments (...) elicited in so-called eavesdropping and retraction cases to support this empirical thesis. But opposing theorists have denied the judgments, and at present there is no consensus in the literature about how the speaker judgments in fact pattern. Consequently there is little agreement on what exactly a semantics and pragmatics for epistemic modals should predict about the pattern of judgments in these cases. Further theorizing requires greater clarity on the data to be explained. To clarify the data, we subjected eavesdropping and retraction cases to experimental evaluation. Our data provide evidence against the claim that competent speakers tend to judge a present-tense bare epistemic possibility claim true only if the prejacent is compatible with their information. Theories designed to predict this result are accordingly undermined. (shrink)

Stephen Davies presents a fascinating exploration of the idea that art, and our aesthetic sensibilities more generally, should be understood as an element in human evolution. He asks: Do animals have aesthetics? Do our aesthetic preferences have prehistoric roots? Is art universal? What is the biological role of aesthetic and artistic behaviour?

In this paper, I exploit the parallel between epistemic contextualism and metaethical speaker-relativism to argue that a promising way out of two of the primary problems facing contextualism is one already explored in some detail in the ethical case – viz. expressivism. The upshot is an argument for a form of epistemic expressivism modeled on a familiar form of ethical expressivism. This provides a new nondescriptivist option for understanding the meaning of knowledge attributions, which arguably better captures the normative nature (...) of epistemic discourse than descriptivist competitors like invariantism and contextualism. (shrink)

This paper argues for contextualism about predicates of personal taste and evaluative predicates in general, and offers a proposal of how apparently resilient disagreements are to be explained. The present proposal is complementary to others that have been made in the recent literature. Several authors, for instance (López de Sa, 2008; Sundell, 2011; Huvenes, 2012; Marques and García-Carpintero, 2014; Marques, 2014a), have recently defended semantic contextualism for those kinds of predicates from the accusation that it faces the problem of lost (...) disagreement. These authors have proposed that a proper account of the resilient disagreement in the cases studied is to be achieved by an appeal to pragmatic processes, and to conflicting non-doxastic attitudes. It is argued here that the existing contextualist solutions are incomplete as they stand, and are subject to objections because of this. A supplementation of contextualism is offered, together with an explanation of why failed presuppositions of commonality (López de Sa), disputes over the appropriateness of a contextually salient standard (Sundell), and differences in non-doxastic attitudes (Sundell, Huvenes, Marques, and García-Carpintero) give rise to conflicts. This paper claims that conflicts of attitudes are the reason why people still have impressions of disagreement in spite of failed commonality presuppositions, that those conflicts drive metalinguistic disputes over the selection of appropriate standards, and hence conflicting non-doxastic attitudes demand an explanation that is independent of those context dependent pragmatic processes. The paper further argues that the missing explanation is 2-fold: first, disagreement prevails where the properties expressed by taste and value predicates are response-dependent properties, and, secondly, it prevails where those response-dependent properties are involved in evolved systems of coordination that respond to evolutionarily recurrent situations. (shrink)

In this paper I argue against one variety of contextualism about aesthetic predicates such as “beautiful.” Contextualist analyses of these and other predicates have been subject to several challenges surrounding disagreement. Focusing on one kind of contextualism— individualized indexical contextualism —I unpack these various challenges and consider the responses available to the contextualist. The three responses I consider are as follows: giving an alternative analysis of the concept of disagreement ; claiming that speakers suffer from semantic blindness; and claiming that (...) attributions of beauty carry presuppositions of commonality. I will argue that none of the available strategies gives a response which both satisfactorily explains all of the disagreement -data and is plausible independent of significant evidence in favor of contextualism. I conclude that individualized indexical contextualism about the aesthetic is untenable, although this does not rule out alternative contextualist approaches to the aesthetic. (shrink)

It has recently been argued that certain areas of discourse, such as discourse about matters of taste, involve a phenomenon of ‘‘ faultless disagreement ’’ that rules out giving a standard realist or contextualist semantics for them. Thus, it is argued, we are left with no choice but to consider more adventurous semantic alternatives for these areas, such as a semantic account that involves relativizing truth to perspectives or contexts of assessment. I argue that the sort of faultless disagreement present (...) in these cases is in fact compatible with a realist treatment of their semantics. Then I briefly consider other considerations that might be thought to speak against realism about these areas of discourse. I conclude with the tentative suggestion that realism about matters of taste is far more plausible than most philosophers believe today. (shrink)

It is frequently claimed that we can learn very little, if anything, about the aesthetic character of an artwork on the basis of testimony. Such disparaging assessments of the epistemic value of aesthetic testimony contrast markedly with our acceptance of testimony as an important source of knowledge in many other areas. There have, however, been a number of challenges to this orthodoxy of late; from those who seek to deny that such a contrast exists as well as attempts by those (...) who accept the distinction to provide an explanation and defence of the contrast. In Section I, I outline a little of the nature and history of the debate over aesthetic testimony. Section II, focuses on the opposing positions on aesthetic testimony, optimism and pessimism, and takes steps to clarify what exactly is at issue between them. In Section III, I survey considerations which have been adduced in favour of pessimism ranging from brute appeal to intuition to complex argumentation before turning in Section IV, to look at motivations for optimism. Finally, in Section V, I consider some alternative views which claim that, for a variety of reasons, it is a mistake to construe the debate over aesthetic testimony as concerned with the epistemic standing of aesthetic beliefs formed on the basis of testimony. (shrink)

What happens to the "conversational score" when speakers in a conversation push the score for a context-sensitive term in different directions? In epistemology, contextualists are often construed as holding that both the skeptic ("You don't know!") and her opponent ("Oh, yes I do!") speak truthfully when they debate. This assumes a "multiple scoreboards" version of contextualism. But contextualists themselves typically opt for "single scoreboard" views on which such apparently competing claims really do conflict. This paper explores several single scoreboard options (...) for contextualists, opting in the end for the "gap view," on which neither of our debaters speaks truthfully. (shrink)

The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility (...) of deriving knowledge from a non- aesthetic description. If this were to be a real possibility, it would certainly disprove the Acquaintance Principle, but its impossibility would not establish it. Furthermore, if the way knowledge were to be derived from a non- aesthetic description were through its enabling a person to imagine the object, a defender of the Acquaintance Principle might simply deem imagining to be a form of first-hand experience. I focus on the possibility of acquiring aesthetic knowledge through reliable testimony because here there is a style of argument that, if correct, would rule out the possibility of knowledge of an item's aesthetic properties being transmitted to someone who lacks the requisite first-hand experience, and the manoeuvre of including imagining under the head of first-hand experience is not available. An argument of this kind is, I believe, the only possible way of establishing the Acquaintance Principle. I try to show that this style of argument fails and that the Acquaintance Principle should be rejected. (shrink)

This chapter defends a version of the indexical contextualist form of moderate relativism: the attempt to endorse appearances of faultless disagreement within the framework in which a sentence at a context at the index of the context determines its appropriate truth-value. Many object that any such an indexical proposal would fail to account for intuitions of (genuine) disagreement as revealed in ordinary disputes in the domain. The defence from this objection exploits presuppositions of commonality to the effect that the addressee (...) is relevantly like the speaker of the context. (shrink)

Disagreement holds the key: the possibility of agreeing or disagreeing with a state of mind makes that state of mind act logically like accepting a claim. Charles Stevenson was quite right to begin his presentation of emotivism with disagreement.—Allan Gibbard.

John MacFarlane defends a radical form of truth relativism that makes the truth of assertions relative not only to contexts of utterance but also to contexts of assessment, or perspectives. Making sense of assessment-sensitive truth is a matter of making sense of the normative commitments undertaken by speakers in using assessment sensitive sentences. This paper argues against the possibility of making sense of such a practice. Evans raised a challenge to the coherence of relative truth. A modification of the challenge (...) can be given against MacFarlane’s revised views on assertion. The main objection to the relativist is that rational and earnest speakers are not bound by assessment-relative standards of correctness. (shrink)

Philosophers should listen to punk rock. Though largely ignored in analytic aesthetics, punk can shed light on the nature, limits, and value of art. Here, I will begin with an overview of punk aesthetics and then extrapolate two lessons. First, punk intentionally violates widely held aesthetic norms, thus raising questions about the plasticity of taste. Second, punk music is associated with accompanying visual styles, fashion, and attitudes; this points to a relationship between art and identity. Together, these lessons suggest that (...) art appreciation is not just about finding beauty or aesthetic worth but is also about constructing a self. (shrink)

I want to suggest a point in metaphor which is independent of the question of its cognitivity and which has nothing to do with its aesthetical character. I think of this point as the achievement of intimacy. There is a unique way in which the maker and the appreciator of a metaphor are drawn closer to one another. Three aspects are involved: the speaker issues a kind of concealed invitation; the hearer expends a special effort to accept the invitation; and (...) this transaction constitutes the acknowledgement of a community. All three are involved in any communication, but in ordinary literal discourse their involvement is so persuasive and routine that they go unremarked. The use of metaphor throws them into relief, and there is a point in that. An appreciator of a metaphor must do two things: he must realize that the expression is a metaphor, and he must figure out the point of the expression. His former accomplishment induces him to undertake the latter. Realizing the metaphorical character of an expression is often easy enough; it requires only the assumption that the speaker is not simply speaking absurdly or uttering a patent falsehood. But it can be a more formidable task: not every figurative expression which can survive a literal reading is a mere play on words. Ted Cohen is chairman of the department of philosophy at the University of Chicago. He has written on language, aesthetics, and taste and has coedited a collection entitled Essays on Kant's Aesthetics. His contribution to Critical Inquiry, "Reflexions on Las Meninas: Paradox Lost", was written with Joel Snyder in the Winter 1980 issue. (shrink)

Beauty is an important part of our lives. Ugliness too. It is no surprise then that philosophers since antiquity have been interested in our experiences of and judgments about beauty and ugliness. They have tried to understand the nature of these experiences and judgments, and they have also wanted to know whether these experiences and judgments were legitimate. Both these projects took a sharpened form in the twentieth century, when this part of our lives came under a sustained attack in (...) both European and American intellectual circles. Much of the discourse about beauty since the Eighteenth century had deployed a notion of the ‘aesthetic’, and so that notion in particular came in for criticism. This disdain for the aesthetic may have roots in a broader cultural Puritanism, which fears the connection between the aesthetic and pleasure. Even to suggest, in the recent climate, that an artwork might be good because it is pleasurable, as opposed to cognitively, morally or politically beneficial, is to court derision. The twentieth century has not been kind to the notions of beauty or the aesthetic. Nevertheless, some thinkers — philosophers, as well as others in the study of particular arts — have persisted in thinking about beauty and the aesthetic in a traditional way. In the first part of this essay, I look at the particular rich account of judgments of beauty given to us by Immanuel Kant. The notion of a ‘judgment of taste’ is central to Kant's account and also to virtually everyone working in traditional aesthetics; so I begin by examining Kant's characterisation of the judgment of taste. In the second part, I look at the issues that twentieth century thinkers have raised. I end by drawing on Kant's accout of the judgement of taste to consider whether the notion of the aesthetic is viable. (shrink)

I defend a contextualist account of bare epistemic modal claims against recent objections. I argue that in uttering a sentence of the form ‘It might be that p,’ a speaker is performing two speech acts. First, she is (directly) asserting that in view of the knowledge possessed by some relevant group, it might be that p. The content of this first speech act is accounted for by the contextualist view. But the speaker's utterance also generates an indirect speech act that (...) consists in a weak suggestive that p. Since this second speech act is typically the main point of a bare epistemic modal utterance, our (negative or positive) responses to the utterance actually target this second speech act. I show how this two-speech-act account can explain the data recently adduced against contextualism. (shrink)

In modal logic, propositions are evaluated relative to possible worlds. A proposition may be true relative to a world w, and false relative to another world w'. Relativism is the view that the relativization idea extends beyond possible worlds and modalities. Thus, in tense logic, propositions are evaluated relative to times. A proposition (e.g. the proposition that Socrates is sitting) may be true relative to a time t, and false relative to another time t'. In this paper I discuss, and (...) attempt to rebut, two classical objections to Relativism. The first objection, due to Frege, is the objection from incompleteness. I distinguish two possible relativist responses to that objection, one of which corresponds to the view I actually defend : Moderate Relativism. The second objection is due to Mark Richard, who argued that the objects of belief cannot be relativistic. I show that that objection can be met within the Moderate Relativist framework. In the last section, I deal with special forms of disagreement that have loomed large in recent discussions of Relativism. (shrink)

Caretaker-infant attachment is a complex but well-recognized adaptation in humans. An early instance of (or precursor to) attachment behavior is the dyadic interaction between adults and infants of 6 to 24 weeks, commonly called "babytalk." Detailed analysis of 1 minute of spontaneous babytalk with an 8-week infant shows that the poetic texture of the mother’s speech—specifically its use of metrics, phonetics, and foregrounding—helps to shape and direct the baby’s attention, as it also coordinates the partners’ emotional communication. We hypothesize that (...) the ability to respond to poetic features of language is present as early as the first few weeks of life and that this ability attunes cognitive and affective capacities in ways that provide a foundation for the skills at work in later aesthetic production and response. By linking developmental social processes with formal cognitive aspects of art, we challenge predominant views in evolutionary psychology that literary art is a superfluous byproduct of adaptive evolutionary mechanisms or primarily an ornament created by sexual selection. (shrink)

"Dissanayake argues that art was central to human evolutionary adaptation and that the aesthetic faculty is a basic psychological component of every human being. In her view, art is intimately linked to the origins of religious practices and to ceremonies of birth, death, transition, and transcendence. Drawing on her years in Sri Lanka, Nigeria, and Papua New Guinea, she gives examples of painting, song, dance, and drama as behaviors that enable participants to grasp and reinforce what is important to their (...) cognitive world." --Publishers Weekly "A wide-ranging essay on the place of art in human evolution and in the future, at once learned and spirited."--Howard Gardner, Harvard University "Ellen Dissanayake's book is the most forceful rejoinder I've read so far to the trivializing pessimism of postmodernist art theory."--Kenneth Baker,San Francisco Chronicle "Affirm[s] the idea that art is for life's sake, for the fulfillment of fundamental human needs, and for human survival.... She gives us a coherent rationale for funding broadly based arts programs."--Art Therapy "Homo Aestheticusoffers a wealth of original and critical thinking. It will inform and irritate specialist, student, and lay reader alike."--American Anthropologist "Homo Aestheticus calls for a counterrevolution in our thinking about art. It is timely, provocative, and immensely valuable."--Philosophy and Literature. (shrink)