Ernest Sosa's A Virtue Epistemology, Vol. I is arguably the single-most important monograph to be published in analytic epistemology in the last ten years. Sosa, the first in the field to employ the notion of intellectual virtue – in his ground-breaking ‘The Raft and the Pyramid’– is the leading proponent of reliabilist versions of virtue epistemology. In A Virtue Epistemology, he deftly defends an externalist account of animal knowledge as apt belief, argues for a distinction between animal and reflective knowledge, (...) contends that rational intuition is an intellectual virtue ; and offers responses to dream scepticism, the problem of the criterion and the value problem. Nearly all of these arguments are new, albeit consistent with Sosa's earlier work; that is, consistent with two notable exceptions. First, c ontra Sosa's ‘Replies’ in Ernest Sosa and His Critics, A Virtue Epistemology explicitly contends that safety is not required for animal knowledge. Second, unlike Sosa's Knowledge in Perspective, which arguably construes the intellectual virtues as merely instrumentally valuable, A Virtue Epistemology explicitly contends that the intellectual virtues are instrumentally and constitutively valuable. Best read in conjunction with the above monographs and Epistemic Justification, A Virtue Epistemology is mandatory reading for epistemologists and graduate students in the field. It will rightly set the standard for debates in analytic epistemology for years to come.I will summarize and raise objections to two key conclusions that are unique to A Virtue Epistemology: the ‘kaleidoscope-perceiver’ has animal knowledge but lacks reflective knowledge; unlike the k-perceiver, the ordinary perceiver has reflective knowledge. My objections …. (shrink)

This new translation is an extremely welcome addition to the continuing Cambridge Edition of Kant’s works. English-speaking readers of the third Critique have long been hampered by the lack of an adequate translation of this important and difficult work. James Creed Meredith’s much-reprinted translation has charm and elegance, but it is often too loose to be useful for scholarly purposes. Moreover it does not include the first version of Kant’s introduction, the so-called “First Introduction,” which is now recognized as indispensable (...) for an understanding of the work. Werner Pluhar’s more recent translation, which does include the First Introduction, is highly accurate when it confines itself to rendering Kant’s German. However, it is often more of a reconstruction than a translation, containing so many interpretative interpolations that it is often difficult to separate out Kant’s original text from the translator’s contributions. Paul Guyer and Eric Matthews have provided a translation that compares to or exceeds Pluhar’s in its literal approach to the German, but that confines all interpretative material to footnotes and endnotes, so that the text itself, with all its unclarities and ambiguities, lies open to view. In addition, Guyer, as editor of the volume, has provided a great deal of valuable supplementary material. This includes an introduction with an outline of the work and details of the history of its composition and publication, and a wealth of endnotes offering clarifications of the text, background information, and, most strikingly, many references to related passages in Kant’s voluminous writings, particularly in connection with Kant’s earlier writings related to aesthetics. The edition also records differences among the first three editions of the work, and—of particular interest—erasures from and additions to Kant’s manuscript of the First Introduction. Although the introduction and endnotes reflect interpretative views that are sometimes disputable, this supplementary material makes the present edition into a valuable resource even for those able to read the text in German. (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)

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)

Testimony is an important source of our knowledge about the world. But to some, there seems something odd, perhaps even wrong, about trusting testimony about specifically moral matters. In this paper, I discuss several different explanations of what might be wrong with trusting moral testimony. These include the possibility that there is no moral knowledge; that moral knowledge cannot be transmitted by moral testimony; that there are reasons not to trust moral testimony either because you should try to gain and (...) use “moral understanding” to make your moral judgements instead or because doing so is damaging to your moral character in various ways. Finally, I discuss some “debunking explanations” according to which it is right and rational to trust moral testimony from a trustworthy source. © 2013 The Author. Philosophy Compass © 2013 Blackwell Publishing Ltd. (shrink)

In defense of moral testimony Content Type Journal Article Pages 1-21 DOI 10.1007/s11098-012-9887-6 Authors Paulina Sliwa, Massachusetts Institute of Technology, Cambridge, MA, USA Journal Philosophical Studies Online ISSN 1573-0883 Print ISSN 0031-8116.

The acquaintance principle (AP) and the view it expresses have recently been tied to a debate surrounding the possibility of aesthetic testimony, which, plainly put, deals with the question whether aesthetic knowledge can be acquired through testimony—typically aesthetic and non-aesthetic descriptions communicated from person to person. In this context a number of suggestions have been put forward opting for a restricted acceptance of AP. This paper is an attempt to restrict AP even more.

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)

Edmund Gettier is Professor Emeritus at the University of Massachusetts, Amherst. This short piece, published in 1963, seemed to many decisively to refute an otherwise attractive analysis of knowledge. It stimulated a renewed effort, still ongoing, to clarify exactly what knowledge comprises.

This paper brings together two positions that for the most part have been developed and defended independently of one another: contextualism about knowledge attributions and the knowledge account of assertion.

In this paper, I develop a neglected puzzle for the moral realist. I then canvass some potential responses. Although I endorse one response as the most promising of those I survey, my primary goal is to make vivid how formidable the puzzle is, as opposed to offering a definitive solution.

Is it legitimate to acquire one’s moral beliefs on the testimony of others? The pessimist about moral testimony says not. But what is the source of the difficulty? Here pessimists have a choice. On the Unavailability view, moral testimony never makes knowledge available to the recipient. On Unusability accounts, although moral testimony can make knowledge available, some further norm renders it illegitimate to make use of the knowledge thus offered. I suggest that Unusability accounts provide the strongest form of pessimist (...) view. I consider and reject five Unavailability accounts. I then argue that any such view will fail. But what is the norm rendering moral testimonial knowledge unusable? I suggest it lies in the requirement that we grasp for ourselves the moral reasons behind a moral view. This demand is one testimony cannot meet, and that claim holds whatever account we offer of the epistemology of testimony. However, while appeal to this requirement forms the most plausible pessimist view, it is another question whether pessimism is correct. (shrink)

The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted--even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most (...) testimony about art does not have much epistemic value. The situation is somewhat different with respect to aesthetic testimony about nature, proofs, and theories. (shrink)

A person sometimes forms moral beliefs by relying on another person''s moral testimony. In this paper I advance a cognitivist normative account of this phenomenon. I argue that for a person''s actions to be morally good, they must be based on a recognition of the moral reasons bearing on action. Morality requires people to act from an understanding of moral claims, and consequently to have an understanding of moral claims relevant to action. A person sometimes fails to meet this requirement (...) when she relies on another person''s moral testimony, and so there are moral limits on such reliance. (shrink)

This paper uses the knowledge account of assertion (KAA) in defense of epistemological contextualism. Part 1 explores the main problem afflicting contextualism, what I call the "Generality Objection." Part 2 presents and defends both KAA and a powerful new positive argument that it provides for contextualism. Part 3 uses KAA to answer the Generality Objection, and also casts other shadows over the prospects for anti-contextualism.

This ground-breaking book brings to life a neglected topic: our everyday aesthetic interactions with the world around us and the objects in it. Yuriko Saito shows how exploring everyday aesthetics can enrich the content of our aesthetic discourse, and reveals the its influence on the state of the world and our quality of life.

In what way is knowledge better than merely true belief? That is a problem posed in Plato’s Meno. A belief that falls short of knowledge seems thereby inferior. It is better to know than to get it wrong, of course, and also better than to get it right by luck rather than competence. But how can that be so, if a true belief will provide the same benefits? In order to get to Larissa you do not need to know the (...) way. A true belief will get you there just as well. Is it really always better to know the answer to a question than to get it right by luck? In part i we ponder: Is knowledge always better at least in epistemic respects? The affirmative answer is subject to doubts deriving from a conception of belief as sufficient confidence, but is defensible against such doubts. In our search for the special value of knowledge, we then explore in part ii the relation between knowledge and proper action. Part iii goes on to consider how the value of knowledge intuition acquires further interest through its equivalence with the view of knowledge as a norm of assertion. Finally, part iv steps back to examine what we might mean in saying that to know is always, necessarily better than to get it right by luck while really in ignorance. In order to defend our value-of-knowledge intuition we need first to understand it more clearly. Part iv offers an explanation. (shrink)

Trust enters into the making of a virtuous person in at least two ways. First, unless a child has a sufficiently trusting relationship with at least one adult, it is doubtful that she will be able to become the kind of person who can form ethically responsible relationships with others. Infant trust, as Annette Baier has reminded us, is the foundation on which future trust relationships will be built; and when such trust is irreparably shaken, the adult into whom the (...) child grows may be forever cut off from intimacy. Second, a moral beginner must trust other people's moral judgment while she learns to be good. A child does not learn how to be good on her own. She follows the precepts and examples of others, absorbs the moral values of the community into which she has been born, and relies on others who, with luck, will not lead her astray but will turn out to be trustworthy in offering her guidance and correction. While there is some empirical evidence that children learn about morality better when given reasons in support of what they are being taught, part of what a child is being taught is what counts as a good reason. Thus, no moral beginner could be in a position to assess adequately the cogency of the reasons she given until she has progressed some distance in her education. Until that time, the beginner must rely on other people's judgment. That thrust enters into the making of a morally good person should thus be uncontroversial. I want to defend a much more controversial thesis: needing to trust other people's moral judgment is not just a stage we go through on the way to becoming morally virtuous. If the world of value is complex, and if our access to it is shaped by our experiences, then even among the morally mature there will continue to be a significant role for moral testimony and thus for trust. (shrink)

Unusability pessimism has recently emerged as an appealing new option for pessimists about aesthetic testimony—those who deny the legitimacy of forming aesthetic beliefs on the basis of testimony. Unusability pessimists argue that we should reject the traditional pessimistic stance that knowledge of aesthetic matters is unavailable via testimony in favour of the view that while such knowledge is available to us, it is unusable. This unusability stems from the fact that accepting such testimony would violate an important non-epistemic norm of (...) belief formation. In this article I present an objection to unusability pessimism and argue that Robert Hopkins, the view's most prominent defender, fails to motivate adequately the claim that there are such non-epistemic belief norms. The cases which putatively legitimize usability norms can be explained by appeal to more familiar norm types: epistemic norms of belief formation, and non-epistemic norms which govern action other than belief formation. The intent of this article is not primarily negative, however, and I will also argue that understanding why the unusability position fails helps us to identify a promising new direction for the pessimist's opponents who wish to defend the legitimacy of forming aesthetic beliefs on the basis of testimony. (shrink)

What is the relationship between acquaintance and aesthetic judgement? Wollheim’s acquaintance principle (AP) is one answer. Amir Konigsberg—the most recent critic of AP—has produced a number of examples which he claims will require us to restrict AP even further than has previously been suggested. I argue that Konigsberg is mistaken and that his examples do not necessitate any further restrictions on AP. This failure, however, is not the result of some specific flaw in Konigsberg’s argument; rather it is an artefact (...) of a deeper problem at the heart of the current debate over AP (and its successors). I conclude by arguing that this problem—the absence of any satisfactory reformulation of AP itself—has far-reaching consequences for our theorizing in aesthetics. (shrink)

Kant claims that the judgement of taste, the judgement that some particular is beautiful, exhibits two ‘peculiarities’. First: [t]he judgement of taste determines its object in respect of delight with a claim to the agreement of every one , just as if it were objective.

“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)

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)

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)

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)

A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...) pleasure. Yet their reasons for acting are aesthetic. Since aesthetic values figure in aesthetic reasons, we can read a nonempiricist theory of aesthetic value off aesthetic experts’ reasons for acting. (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.

Belief is considered a kind of performance, which attains one level of success if it is true (or accurate), a second level if competent (or adroit), and a third if true because competent (or apt). Knowledge on one level (the animal level) is apt belief. The epistemic normativity constitutive of such knowledge is thus a kind of performance normativity. A problem is posed for this account by the fact that suspension of belief seems to fall under the same sort of (...) epistemic normativity as does belief itself, yet to suspend is of course precisely not to perform, certainly not with the aim of truth. The paper takes up this problem, and proposes a solution that distinguishes levels of performance norrmativity, including a first order where execution competence is in play, and a second order where the performer must assess the risks attendant on issuing a first-order performance. This imports a level of reflective knowledge that ascends above the animal level. (shrink)

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)

Why is it that we cannot legitimately make certain aesthetic assertions – for instance that ‘Guernica is harrowing’ or that ‘The Rite of Spring is strangely beautiful’ – on the basis of testimony alone? In this paper I consider a species of argument intended to demonstrate that the best explanation for the impermissibility of such assertions is that a particular view of the norms of aesthetic belief – pessimism concerning aesthetic testimony – is correct. I begin by outlining the strongest (...) instance of such ‘arguments from assertion’ and demonstrating that it presents a powerful motivation for embracing pessimism; the view that it is illegitimate to form aesthetic beliefs on the basis of testimony alone. I then go on to argue that, appearances notwithstanding, the pessimist’s opponents – optimists concerning aesthetic testimony – are able to provide an explanation for the impermissibility of these assertions which is at least as good as, and in some respects better than, that offered by their pessimist. The explanation I propose draws on some important work on signalling in aesthetics, by Denis Dutton and others, to argue that the problem with such assertions is closely parallel to the problem Dutton claims is generated by forgeries. Those making such assertions misrepresent a piece of aesthetic labour as their own, when, in fact, it is the work of another. I also explore the wider implications of this view for debates in aesthetic epistemology and beyond. (shrink)

In this paper I explore the following threefold question: first, is there a genuine problem of grounding aesthetic judgement in testimony? Second, if there is such a problem, what exactly is its nature? And lastly, can Kant help us get clearer on the problem? Following Kant, I argue that the problem with aesthetic testimony is explained by norms that govern what it takes to judge a beautiful object aesthetically, rather than theoretically or practically, not by norms that govern what it (...) takes to judge aesthetically with a sufficient epistemic basis rather than without it. I thus propose a normative and aesthetic approach to testimony. (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)

Coady’s book is probably the single most comprehensive treatment of philosophical questions relating to testimony and as such must be read by anyone interested in the topic. His epistemological conclusions concerning testimony challenge much of the philosophical tradition.

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)