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)

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)

Ever since Plato, philosophers have faced one central question: what is the scope and nature of human knowledge? In this volume the distinguished philosopher Ernest Sosa collects essays on this subject written over a period of twenty-five years. All the major topics of contemporary epistemology are covered: the nature of propositional knowledge; externalism versus internalism; foundationalism versus coherentism; and the problem of the criterion. 'Sosa is one of the most prominent and most important epistemologists on the current American scene.' William (...) P. Alston, Syracuse University. (shrink)

there seems to be some kind of asymmetry, at least in some cases, between moral testimony and non-moral testimony, between aesthetic testimony and non-aesthetic testimony, and between religious testimony and non-religious testimony. In these domains, at least in some cases, we object to deference, and for this reason expect people to form their beliefs on non-testimonial grounds, in a way that we do not object to deference in paradigm cases of testimonial knowledge. Our philosophical puzzle is therefore: what explains these (...) (apparent) asymmetries (or are they merely apparent)? My aim here is to criticize three accounts of these testimonial asymmetries and to suggest an alternative strategy for solving our puzzle. I’ll consider the idea that testimony cannot be a source of understanding (§2), the idea that testimony cannot be a source of acquaintance (§3), and the idea that testimonial belief is not conducive to moral virtue (§4). These accounts all explain the badness of testimonial belief, in the relevant cases, by appeal to its consequences for the believer—respectively, a lack of understanding, acquaintance, or moral virtue. I’ll conclude by suggesting a way forward (§5): we should try to understand the badness of testimonial belief, in the relevant cases, as deriving from its consequences for the believer’s society. (shrink)

Call the view that it is possible to acquire aesthetic knowledge via testimony, optimism, and its denial, pessimism. In this paper, I offer a novel argument for pessimism. It works by turning attention away from the basis of the relevant belief, namely, testimony, and toward what that belief in turn provides a basis for, namely, other attitudes. In short, I argue that an aesthetic belief acquired via testimony cannot provide a rational basis for further attitudes, such as admiration, and that (...) the best explanation for this is that the relevant belief is not itself rational. If a belief is not rational, it is not knowledge. So, optimism is false. After addressing a number of objections to the argument, I consider briefly its bearing on the debate concerning thick evaluative concepts. While the aim is to argue that pessimism holds, not to explain why it holds, I provide an indication in closing of what that explanation might be. (shrink)

Paul Faulkner presents a new theory of testimony - the basis of much of what we know. He addresses the questions of what makes it reasonable to accept a piece of testimony, and what warrants belief formed on that basis. He rejects rival theories and argues that testimonial knowledge and testimonially warranted belief are based on trust.

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)

Abstract The paper explicates a set of criteria the joint satisfaction of which is taken to qualify moral judgements as cognitive. The paper examines evidence that some moral judgements meet these criteria, and relates the resulting conception of moral judgements to ongoing controversies about cognitivism in ethics.

This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.

Case B. You tell me that eating meat is immoral. Although I believe that, left to my own devices, I would not think this, no matter how long I reflected, I adopt your attitude as my own. It is not that I believe that you are better informed about potentially relevant non-moral facts (e.g., about the conditions under which livestock is kept, or about the typical effects of eliminating meat from one’s diet). On the contrary, I know that I have (...) all of the non-moral information relevant to the issue that you have. (shrink)

Testimony is an invaluable source of knowledge. We rely on the reports of those around us for everything from the ingredients in our food and medicine to the identity of our family members. Recent years have seen an explosion of interest in the epistemology of testimony. Despite the multitude of views offered, a single thesis is nearly universally accepted: testimonial knowledge is acquired through the process of transmission from speaker to hearer. In this book, Jennifer Lackey shows that this thesis (...) is false and, hence, that the literature on testimony has been shaped at its core by a view that is fundamentally misguided. She then defends a detailed alternative to this conception of testimony: whereas the views currently dominant focus on the epistemic status of what speakers believe, Lackey advances a theory that instead centers on what speakers say. The upshot is that, strictly speaking, we do not learn from one another's beliefs - we learn from one another's words. Once this shift in focus is in place, Lackey goes on to argue that, though positive reasons are necessary for testimonial knowledge, testimony itself is an irreducible epistemic source. This leads to the development of a theory that gives proper credence to testimony's epistemologically dual nature: both the speaker and the hearer must make a positive epistemic contribution to testimonial knowledge. The resulting view not only reveals that testimony has the capacity to generate knowledge, but it also gives appropriate weight to our nature as both socially indebted and individually rational creatures. The approach found in this book will, then, represent a radical departure from the views currently dominating the epistemology of testimony, and thus is intended to reshape our understanding of the deep and ubiquitous reliance we have on the testimony of those around us. (shrink)

This article outlines the issues addressed by feminist philosophy of art, critically surveys major developments in the field, and concludes by considering directions in which the field is moving.

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)

My primary aim in this paper is to outline a quasi-realist theory of aesthetic judgement. Robert Hopkins has recently argued against the plausibility of this project because he claims that quasi-realism cannot explain a central component of any expressivist understanding of aesthetic judgements, namely their supposed ‘autonomy’. I argue against Hopkins’s claims by contending that Roger Scruton’s aesthetic attitude theory, centred on his account of the imagination, provides us with the means to develop a plausible quasi-realist account of aesthetic judgement. (...) Finally, I respond to two recent attempts to discredit the validity of the notion of aesthetic autonomy. I claim that both fail adequately to address the underlying non-realist motivations and justifications for maintaining the principle. (shrink)

The moral belief problem is that of reconciling expressivism in ethics with both minimalism in the philosophy of language and the syntactic discipline of moral sentences. It is argued that the problem can be solved by distinguishing minimal and robust senses of belief, where a minimal belief is any state of mind expressed by sincere assertoric use of a syntactically disciplined sentence and a robust belief is a minimal belief with some additional property R. Two attempts to specify R are (...) discussed, both based on the thought that beliefs are states that aim at truth. According to the first, robust beliefs are criticisable to the extent that their content fails to match the state of the world. This sense fails to distinguish robust beliefs from minimal beliefs. According to the second, robust beliefs function to have their content match the state of the world. This sense succeeds in distinguishing robust beliefs from minimal beliefs. The conclusion is that the debate concerning the cognitive status of moral convictions needs to address the issue of the function of moral convictions. Evolutionary theorising may be relevant, but will not be decisive, in answering this question. (shrink)

The paper argues for the centrality of believing the speaker (as distinct from believing the statement) in the epistemology of testimony, and develops a line of thought from Angus Ross which claims that in telling someone something, the kind of reason for belief that a speaker presents is of an essentially different kind from ordinary evidence. Investigating the nature of the audience's dependence on the speaker's free assurance leads to a discussion of Grice's formulation of non-natural meaning in an epistemological (...) light, concentrating on just how the recognition of the speaker's self-reflexive intention is supposed to count for his audience as a reason to believe P. This is understood as the speaker's explicitly assuming responsibility for the truth of his statement, and thereby constituting his utterance as a reason to believe. (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)

In lieu of an abstract, here is a brief excerpt of the content:Hume’s Sceptical Standard of Taste*Jonathan Friday1it is generally agreed that Hume’s essay “Of the Standard of Taste”1 is the most valuable of the large number of works on what we now call aesthetics to emerge from the intellectual and cultural flowering of the Scottish Enlightenment. Here, however, agreement about the essay comes to an end, to be replaced by disagreement about what Hume identifies as the standard of taste. (...) Hume’s text encourages differing interpretations by appearing to identify a number of different standards of taste while continually suggesting there is only one. At the very least, one can find Hume hinting at a rule standard, a decision standard, an ideal spectator standard, a test of time standard as well as the position that there is no standard of taste at all. None of these views is explicitly rejected and more than one receives qualified approval. A review of the literature on Hume’s essay reflects its puzzling nature. Most commentators focus upon one or another of the standards Hume discusses; others examine more than one, but devote little attention to the relation between various standards appearing in the essay.2 [End Page 545]I will suggest in what follows that a better understanding of “Of the Standard of Taste” can be achieved by beginning with the question: What is Hume trying to do in this essay? As we shall see, Hume gives relatively explicit answers to this question in the essay and elsewhere, and attention to these takes us some way towards dissolving the puzzle of why so many positions on the standard of taste are discussed without any being explicitly rejected. Moreover, an understanding of Hume’s aims will make it much easier to clearly discern his own position on the possibility of a standard of taste. Therefore, in what follows, I will offer a reading of Hume’s essay which addresses the puzzle of the multiple standards and puts us in a much better position to answer the question of what Hume’s view is and whether it survives critical scrutiny.2The opening paragraphs of “Of the Standard of Taste” set the stage for the discussion that follows. Hume begins by observing that “the great variety of taste, as well as of opinion, which prevails in the world, is too obvious not to have fallen under everyone’s observation.”3 People of similar background and culture notice the wide differences of taste within their own like-minded community, and when they turn their attention to “distant nations and remote ages”4 the phenomenon is found to be even more pronounced. Further reflection suggests this variety of taste to be even greater in reality than appearance since although we may agree in our evaluative language—e.g., that beauty is to be praised and ugliness scorned—“when critics come to particulars this seeming unanimity vanishes”5 and argument arises about what objects are properly referred to by such evaluative terms. Hume goes on to conclude the opening remarks of his essay by connecting this state of affairs with his familiar views about morality and moral language. These latter reflections are suddenly broken off and Hume turns to the main subject of his essay.He begins with a “natural” response to the phenomena he has just considered. He writes:It is natural for us to seek a Standard of Taste, a rule by which the various sentiments of men may be reconciled; at least a decision afforded confirming one sentiment and condemning another.6It is worth emphasizing that Hume characterizes the much sought standard in two very different ways—as a rule reconciling sentiments and, more modestly, as [End Page 546] a decision confirming (or otherwise) a sentiment.7 Although this passage provides the initial characterizations of the standard of taste Hume is investigating, and ought therefore to have been accorded some attention by commentators, it has been largely ignored.8 This is unfortunate since it proves crucial to understanding what Hume is attempting to do in the essay. I will return to this point, but before doing so we need to further set out the problem as Hume conceives it... (shrink)

There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the supposed peculiar difficulty with aesthetic (...) testimony. (shrink)

How do we form aesthetic judgements? And how should we do so? According to a very prominent tradition in aesthetics it would be wrong to form our aesthetic judgements about a particular object on the basis of anything other than first-hand acquaintance with the object itself (or some very close surrogate) and, in particular, it would be wrong to form such judgements merely on the basis of testimony. Further this tradition presupposes that our actual practice of forming aesthetic judgements typically (...) meets, or at least approximates, this ideal. In this paper I target this descriptive claim and argue—by appeal to some empirical work concerning belief polarization and echo chambers in aesthetics—that our actual practice of forming aesthetic judgements is heavily dependent on social sources such as testimony. I then briefly consider what normative implications this descriptive claim may have. (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)

Critical notice of Paul Faulkner, "Knowledge on Trust" (OUP 2011) and Benjamin McMyler, "Testimony, Trust, and Authority" (OUP 2011).

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.

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)

On several current views, including those of Matthew Kieran, Gary Iseminger, Jerrold Levinson, and Noël Carroll, aesthetic appreciation or experience involves second-order awareness of one’s own mental processes. But what if it turns out that we don’t have introspective access to the processes by which our aesthetic responses are produced? I summarize several problems for introspective accounts that emerge from the psychological literature: aesthetic responses are affected by irrelevant conditions; they fail to be affected by relevant conditions; we are ignorant (...) of their causes and thus confabulate in explaining them; our attempts to offer explanations change our preferences; and the preferences we form after explanation are lower in quality. I suggest that by distinguishing introspective awareness of mental processes from introspective awareness of mental states, we can safeguard a worthwhile concept of aesthetic experience. In addition, we should recognize that theoretical, rather than introspective, understanding of our mental processes may play a valuable role in aesthetic appreciation. (shrink)