Are colors relational or non-relational properties of their bearers? Is red a property that is instantiated by all and only the objects with a certain intrinsic (/non-relational) nature? Or does an object with a particular intrinsic (/non-relational) nature count as red only in virtue of standing in certain relations - for example, only when it looks a certain way to a certain perceiver, or only in certain circumstances of observation? In this paper I shall argue for the view that color (...) properties are relational (henceforth, relationalism), and against the view that colors are not relational (henceforth, anti- or non-relationalism). (shrink)

How should one react when one has a belief, but knows that other people—who have roughly the same evidence as one has, and seem roughly as likely to react to it correctly—disagree? This paper argues that the disagreement of other competent inquirers often requires one to be much less confident in one’s opinions than one would otherwise be.

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)

I treat you as a thermometer when I use your belief states as more or less reliable indicators of the facts. Should I treat myself in a parallel way? Should I think of the outputs of my faculties and yours as like the readings of two thermometers the way a third party would? I explore some of the difficulties in answering these questions. If I am to treat myself as well as others as thermometers in this way, it would appear (...) that I cannot reasonably trust my own convictions over yours unless I have antecedent reason to suppose that I am more likely than you to get things right. I appeal to some probabilistic considerations to suggest that our predicament as thermometers might not actually be as bad as it seems. (shrink)

Consider the following three propositions: (R) Artworks necessarily have aesthetic properties that are relevant to their appreciation as artworks. (S) Aesthetic properties necessarily depend, at least in part, on properties perceived by means of the five senses. (X) There exist artworks that need not be perceived by means of the five senses to be appreciated as artworks. The independent plausibility and apparent joint inconsistency of these three propositions give rise to what I refer to as ‘the problem of non-perceptual art’. (...) Assuming that the propositions are independently plausible and jointly inconsistent, there will be three ways of solving the problem: you may affirm (R) and (S) while denying (X); you may affirm (S) and (X) while denying (R); or you may affirm (R) and (X) while denying (S). The first of these, once the orthodox solution, has been displaced in recent years by the second. The third has never really been defended. I defend it here. If successful, my defence will have shown that there is reason to deny the existence of non-aesthetic art and no reason to believe that art is not essentially aesthetic. (shrink)

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)

In recent work, Robert Hopkins has argued that aesthetic judgements are autonomous. When a subject finds herself diverging in judgement from a group of others who, while independently applying the same method, have come to some opposing conclusion, then for ordinary empirical matters this is often reason enough for her to suspend judgement, or even to adopt their view, but this happens much more rarely in the case of beauty. Moreover, the opposing view does not act as a defeater to (...) her belief to the same extent as it does in the empirical case. Hopkins argues that this phenomenon, properly understood, poses a distinctive problem for aesthetic cognitivism. Such a result might seem to support a non-cognitivism about aesthetic judgement, but Hopkins argues that one of the most promising such accounts, a particular form of aesthetic quasi-realism, cannot account in a satisfactory way for aesthetic autonomy either. In this paper, I argue that Hopkins's argument is crucially enthymematic. Supplying the relevant premise makes space for an independently motivated explanation of autonomy, which is open to cognitivists and non-cognitivists alike. (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)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

Aesthetic judgements are autonomous, as many other judgements are not: for the latter, but not the former, it is sometimes justifiable to change one's mind simply because several others share a different opinion. Why is this? One answer is that claims about beauty are not assertions at all, but expressions of aesthetic response. However, to cover more than just some of the explananda, this expressivism needs combining with some analogue of cognitive command, i.e. the idea that disagreements over beuaty can (...) occur, and when they do it is a priori that one side has infringed the norms governing aesthetic discourse. This combination can be achieved by reading Kant’s aesthetic theory in expressivist terms. The resulting view is a form of quasi-realism about beauty. The position has its merits, but cannot ultimately explain the phenomena which motivate it. This conclusion generalises to quasi-realism about other matters. (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)

Mainstream epistemology is a highly theoretical and abstract enterprise. Traditional epistemologists rarely present their deliberations as critical to the practical problems of life, unless one supposes—as Hume, for example, did not—that skeptical worries should trouble us in our everyday affairs. But some issues in epistemology are both theoretically interesting and practically quite pressing. That holds of the problem to be discussed here: how laypersons should evaluate the testimony of experts and decide which of two or more rival experts is most (...) credible. It is of practical importance because in a complex, highly specialized world people are constantly confronted with situations in which, as comparative novices, they must turn to putative experts for intellectual guidance or assistance. It is of theoretical interest because the appropriate epistemic considerations are far from transparent; and it is not clear how far the problems lead to insurmountable skeptical quandaries. This paper does not argue for flat-out skepticism in this domain; nor, on the other hand, does it purport to resolve all pressures in the direction of skepticism. It is an exploratory paper, which tries to identify problems and examine some possible solutions, not to establish those solutions definitively. (shrink)

How should you take into account the opinions of an advisor? When you completely defer to the advisor's judgment, then you should treat the advisor as a guru. Roughly, that means you should believe what you expect she would believe, if supplied with your extra evidence. When the advisor is your own future self, the resulting principle amounts to a version of the Reflection Principle---a version amended to handle cases of information loss. When you count an advisor as an epistemic (...) peer, you should give her conclusions the same weight as your own. Denying that view---call it the ``equal weight view''---leads to absurdity: the absurdity that you could reasonably come to believe yourself to be an epistemic superior to an advisor simply by noting cases of disagreement with her, and taking it that she made most of the mistakes. Accepting the view seems to lead to another absurdity: that one should suspend judgment about everything that one's smart and well-informed friends disagree on, which means suspending judgment about almost everything interesting. But despite appearances, the equal weight view does not have this absurd consequence. Furthermore, the view can be generalized to handle cases involving not just epistemic peers, but also epistemic superiors and inferiors. (shrink)

When it comes to evaluating our own abilities and prospects, most people are subject to a distorting bias. We think that we are better – friendlier, more well-liked, better leaders, and better drivers – than we really are. Once we learn about this bias, we should ratchet down our self-evaluations to correct for it. But we don’t. That leaves us with an uncomfortable tension in our beliefs: we knowingly allow our beliefs to differ from the ones that we think are (...) supported by our evidence. We can mitigate the tension by waffling between two belief states: a reflective state that has been recalibrated to take into account our tendency to overrate ourselves, and a non-reflective state that has not. (shrink)

We seem less likely to endorse moral expertise than reasoning expertise or aesthetic expertise. This seems puzzling given that moral norms are intuitively taken to be at least more objective than aesthetic norms. One possible diagnosis of the asymmetry is that moral judgments require autonomy of judgement in away that other judgments do not. However, the author points out that aesthetic judgments that have been ‘borrowed’ by aesthetic experts generate the same autonomy worry as moral judgments which are borrowed by (...) moral experts. The author then explores various approaches to accepting the testimony of moral experts and concludes that the asymmetry may best be explained by (1) the conditions for moral expertise being more difficult to satisfy than those of aesthetic expertise and (2) the intuitive greater seriousness of accepting the moral judgments of others, since moral norms are generally viewed as more binding than aesthetic norms. (shrink)