I open my eyes and see that the lemon before me is yellow. States like this—states of seeing that $p$ —appear to be visual perceptual states, in some sense. They also appear to be propositional attitudes (and so states with propositional representational contents). It might seem, then, like a view of perceptual experience on which experiences have propositional representational contents—a Propositional View—has to be the correct sort of view for states of seeing that $p$ . And thus we can’t sustain (...) fully general non-Propositional but Representational, or Relational Views of experience. But despite what we might initially be inclined to think when reflecting upon the apparent features of states of seeing that $p$ , a non-propositional view of seeing that $p$ is, I argue, perfectly intelligible. (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)

Knowledge has almost always been treated as good, better than mere true belief, but it is remarkably difficult to explain what it is about knowledge that makes it better. I call this “the value problem.” I have previously argued that most forms of reliabilism cannot handle the value problem. In this article I argue that the value problem is more general than a problem for reliabilism, infecting a host of different theories, including some that are internalist. An additional problem is (...) that not all instances of true belief seem to be good on balance, so even if a given instance of knowing p is better than merely truly believing p, not all instances of knowing will be good enough to explain why knowledge has received so much attention in the history of philosophy. The article aims to answer two questions: What makes knowingp better than merely truly believing p? The answer involves an exploration of the connection between believing and the agency of the knower. Knowing is an act in which the knower gets credit for achieving truth. What makes some instances of knowing good enough to make the investigation of knowledge worthy of so much attention? The answer involves the connection between the good of believing truths of certain kinds and a good life. In the best kinds of knowing, the knower not only gets credit for getting the truth but also gets credit for getting a desirable truth. The kind of value that makes knowledge a fitting object of extensive philosophical inquiry is not independent of moral value and the wider values of a good life. (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)

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)

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)

An important book by the world's most eminent epistemologist. In Epistemic Explanations Sosa develops an improved virtue epistemology and uses it to explain several epistemic phenomena.

To be acquainted with something (in the philosophical sense of “acquainted” discussed here) is to be directly aware of it. The idea that we are acquainted with certain things we experience has been discussed throughout the history of Western Philosophy, but in the early 20th century it gained especially focused attention among analytic philosophers who drew their inspiration from Bertrand Russell's work on acquaintance. Since then, many philosophers—particularly those working on self‐knowledge or perception—have used the notion of acquaintance to explain (...) various facts about human experience and knowledge. In this paper, I offer an overview of this work, with particular focus on the resurgent literature on acquaintance in contemporary analytic philosophy. After more fully explaining what acquaintance is (or is supposed to be), I describe some reasons for thinking that we are indeed acquainted with certain things we experience, and then I survey some of the facts about experience and knowledge that acquaintance may help explain. (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)

I present a puzzle – the “puzzle of aesthetic testimony” – along with a solution to it that appeals to the impossibility of testimonial understanding. I'll criticize this solution by defending the possibility of testimonial understanding, including testimonial aesthetic understanding.

As I walk into a restaurant to meet up with a friend, I look around and see all sorts of things in my immediate environment—tables, chairs, people, colors, shapes, etc. As a result, I know of these things. But what is the nature of this knowledge? Nowadays, the standard practice among philosophers is to treat all knowledge, aside maybe from “know-how”, as propositional. But in this paper I will argue that this is a mistake. I’ll argue that some knowledge is (...) constituted, not by beliefs toward propositions, but by awareness of properties and objects. Seeing isn’t believing, but it is knowing. After further characterizing this type of knowledge, I will make the case for it. Then I will consider a variety of objections. Finally, I will indicate how our recognition of this knowledge may answer other questions, and solve other problems, in philosophy. (shrink)

ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...) an alternative view, according to which aesthetic discourse expresses affective states of mind, analogously to how assertions express beliefs. It is because these affective states require first-hand experience that aesthetic discourse communicates that such acquaintance is at hand. The paper furthermore argues that the lack of an experience requirement for aesthetic belief ascriptions constitutes a problem for the kind of expressivist who claims that evaluative belief states are covert non-cognitive states. (shrink)

The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...) action, but unusable for doxastic repetition. I consider a new asymmetry in the usability aesthetic testimony. Consider the following cases: we seem unwilling to accept somebody hanging a painting in their bedroom based merely on testimony, but entirely willing to accept hanging a painting in a museum based merely on testimony. The switch in intuitive acceptability seems to track, in some complicated way, the line between public life and private life. These new cases weigh against a number of standing theories of aesthetic testimony. I suggest that we look further afield, and that something like a sensibility theory, in the style of John McDowell and David Wiggins, will prove to be the best fit for our intuitions for the usability of aesthetic testimony. I propose the following explanation for the new asymmetry: we are willing to accept testimony about whether a work merits being found beautiful; but we are unwilling to accept testimony about whether something actually is beautiful. (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)

While it is widely acknowledged that knowledge can be acquired via testimony, it has been argued that understanding cannot. While there is no consensus about what the epistemic relationship of understanding consists in, I argue here that regardless of how understanding is conceived there are kinds of understanding that can be acquired through testimony: easy understanding and easy-s understanding. I address a number of aspects of understanding that might stand in the way of being able to acquire understanding through testimony, (...) focusing on understanding ’s paradigmatic form and what it means to say that in order to understand something you need to “grasp” some information or the relationship between bits of information. I argue that in cases of both easy and easy-s understanding, no aspect of understanding stands in the way of it being able to acquire it through testimony. As a result, while not all understanding be acquired through testimony in all instances and for all subjects, this failure of acquisition is only a product of the complexity of the relevant information or one’s unfamiliarity with it, and not a product of the epistemic relationship of understanding. (shrink)

I can be wrong about things I seem to perceive; the conditions might lead me to be mistaken about them. Since I can't rule out the possibility that the conditions are misleading, I can't be sure that I am perceiving this thing in my hand correctly. But suppose that I am able to examine it actively—handling it, looking closer, shining a light on it, and so on. Then, my level of uncertainty goes down; in the limit it is eliminated entirely. (...) Of course, I might be mistaken because I am a brain in a vat, or because some other sceptical scenario obtains. But sceptical scenarios apply not just to this thing in my hand, but to everything all at once. Define "empirical certainty" as the absence of the kind of doubt that spreads to all empirical states of affairs. Sensory exploration, or active examination, can in principle lead to empirical certainty. (shrink)

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)

Aesthetic properties are often thought to have either no evaluative component or an evaluative component that can be isolated from their descriptive component. The present article argues that this popular view is without adequate support. First, doubt is cast on the idea that some paradigmatic aesthetic properties are purely descriptive. Second, the idea that the evaluative component of an aesthetic property can always be neatly separated from its descriptive component is called into question. Meanwhile, a speculative hypothesis is launched regarding (...) the structure of being garish and being cacophonous. Finally, an explanation is given of how the issue of the structure of aesthetic properties bears on their reality and (presumed) response-dependence. (shrink)

1. I am going to work with an idea from Sellars, that knowledge—at least as enjoyed by rational animals—is a certain sort of standing in the space of reasons. My concern is a familiar philosophical dialectic, which I shall approach in terms of what happens to the Sellarsian idea when the image of standings in the space of reasons undergoes a certain deformation. That it is a deformation is something we can learn from how unsatisfactory the familiar dialectic is.

There are parallel debates in metaethics and aesthetics about the rational merits of deferring to others about ethics and aesthetics. In both areas it is common to think that there is something amiss about deference. A popular explanation of this in aesthetics appeals to the importance of aesthetic acquaintance. This kind of explanation has not been explored much in ethics. This chapter defends a unified account of what is amiss about ethical and aesthetic deference. According to this account, deference is (...) a non-ideal way of thinking about ethics and aesthetics because it does not allow us to possess the full range of reasons provided by the ethical and aesthetic facts. It has this feature because it does not acquaint us with ethical and aesthetic facts. It is argued further that despite this defect, there is no general obligation not to defer. The upshot is a moderate optimism about ethical and aesthetic deference. (shrink)

The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just as (...) obvious to many philosophers that aesthetic judgment requires first-person experience. In this article we argue that, despite its initial appeal, the claim that gustatory and critical judgments are analogous in this way is mistaken. The two sorts of judgments are, as a matter of fact, similar in their epistemology, but earlier theorists have got things entirely backward—neither gustatory judgment nor aesthetic judgment requires first-hand acquaintance with their objects. Our particular focus in this article is on arguing that first-person experience is not required to know how an item of food or drink tastes. In fact, there are a wide variety of ways in which we can acquire this knowledge. (shrink)

The acquaintance debate in aesthetics has been traditionally divided between pessimists, who argue that testimony does not provide others with aesthetic knowledge of artworks, and optimists, who hold that acquaintance with an artwork is not a necessary precondition for acquiring aesthetic knowledge. In this paper I propose a reconciliationist solution to the acquaintance debate: while aesthetic knowledge can be had via testimony, aesthetic judgment requires acquaintance with the artwork. I develop this solution by situating it within a virtue aesthetics framework (...) based on Ernest Sosa's virtue epistemology. I go on to apply the solution to the debates on moral testimony and expert testimony. An interesting variant on Gettier cases emerges: cases in which subjects have knowledge, but it has been formed by the wrong competence. (shrink)

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.

Among contemporary epistemologists and scholars of ancient philosophy, one often hears that transmitting propositional knowledge by testimony is usually easy and straightforward, but transmitting understanding and know-how by testimony is usually difficult or simply impossible. Further provocative conclusions are then sometimes drawn from these claims: for instance, that know-how and understanding are not types of propositional knowledge. In contrast, I argue that transmitting propositional knowledge is sometimes easy and sometimes hard, just as transmitting know how and understanding is sometimes easy (...) and sometimes hard. No general lessons can be drawn about the relationships among propositional knowledge, know how, and understanding by considering the case of testimony alone. (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)