It is argued that instrumentalizing the value of art does an injustice to artistic appreciation and provides a hostage to fortune. Whilst aestheticism offers an intellectual bulwark against such an approach, it focuses on what is distinctive of art at the expense of broader artistic values. It is argued that artistic appreciation and creativity involve not just skills but excellences of character. The nature of particular artistic or appreciative virtues and vices are briefly explored, such as snobbery, aestheticism and creativity, (...) in order to motivate a virtue theoretic approach. Artistic virtues are intrinsically valuable excellences of character that enable us to create or appreciate all sorts of things from everyday recipes to the finest achievements of humankind. Such an approach offers a new way to resist the age old temptation to instrumentalize the values of art. (shrink)

Almost all theories of knowledge and justified belief employ moral concepts and forms of argument borrowed from moral theories, but none of them pay attention to the current renaissance in virtue ethics. This remarkable book is the first attempt to establish a theory of knowledge based on the model of virtue theory in ethics. The book develops the concept of an intellectual virtue, and then shows how the concept can be used to give an account of the major concepts in (...) epistemology, including the concept of knowledge. This highly original work of philosophy for professionals will also provide students with an excellent introduction to epistemology, virtue theory, and the relationship between ethics and epistemology. (shrink)

In this paper I defend the theory that knowledge is credit-worthy true belief against a family of objections, one of which was leveled against it in a recent paper by Jennifer Lackey. In that paper, Lackey argues that testimonial knowledge is problematic for the credit-worthiness theory because when person A comes to know that p by way of the testimony of person B, it would appear that any credit due to A for coming to believe truly that p belongs to (...) the testifier, B, rather than the hearer, A. If so, then knowledge would appear not to be a matter of credit for true belief. I think that the problem this raises actually has little to do with the fact that the knowledge comes by way of testimony, and that similar objections can be formulated in terms of perceptual and memorial knowledge. I will attempt to neutralize these objections by drawing a distinction between credit as praiseworthiness and credit as attributability. (shrink)

The paper begins by reviewing two problems for fallibilism: the lottery problem, or the problem of explaining why fallible evidence, though otherwise excellent, is not enough to know that one will lose the lottery, and Gettier problems. It is then argued that both problems can be resolved if we note an important illocutionary force of knowledge attributions: namely, that when we attribute knowledge to someone we mean to give the person credit for getting things right. Alternatively, to say that a (...) person knows is to say that she got things right due to her own abilities, efforts and actions, rather than due to dumb luck, or blind chance, or something else. (shrink)

Is there a distinctively artistic value that works of art have over and above their aesthetic value? No, Dominic McIver Lopes claims in a recent paper. He canvases various non-aesthetic options for underwriting artistic value. Yet he dispenses too quickly with a promising account of artistic value that would look to the artwork's status as an achievement as the basis of its value: On this achievement-based view, the value of the work of art as art (that is, its distinctively artistic (...) value) consists in the artistically-relevant achievement that it itself constitutes. While I will not seek to vindicate the achievement view itself, I do want to show that Lopes's arguments against it are unsound. Moreover, I argue that Lopes's claim that artistic value might be nothing over and above aesthetic value is untenable, unless it is supplemented by the more basic claim that the aesthetic value in question is something achieved by an artist. Lopes's argument thus only works if he makes recourse to the achievement conception of artistic value that he is keen to reject. (shrink)

This book is the first systematic treatment of 'responsibilist' or character-based virtue epistemology, an approach to epistemology that focuses on intellectual ...

The paper begins by reviewing two problems for fallibilism: the lottery problem, or the problem of explaining why fallible evidence, though otherwise excellent, is not enough to know that one will lose the lottery, and Gettier problems. It is then argued that both problems can be resolved if we note an important illocutionary force of knowledge attributions: namely, that when we attribute knowledge to someone we mean to give the person credit for getting things right. Alternatively, to say that a (...) person knows is to say that she got things right due to her own abilities, efforts and actions, rather than due to dumb luck, or blind chance, or something else. (shrink)

This article traces a growing interest among epistemologists in the intellectuals of epistemic virtues. These are cognitive dispositions exercised in the formation of beliefs. Attempts to give intellectual virtues a central normative and/or explanatory role in epistemology occur together with renewed interest in the ethics/epistemology analogy, and in the role of intellectual virtue in Aristotle's epistemology. The central distinction drawn here is between two opposed forms of virtue epistemology, virtue reliabilism and virtue responsibilism. The article develops the shared and distinctive (...) claims made by contemporary proponents of each form, in their respective treatments of knowledge and justification. (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)

A detailed account of certain traits of intellectual character—the epistemic virtues—and of their relation to the responsibility for one's beliefs.

Ernest Sosa argues for two levels of knowledge, the animal and the reflective, each viewed as a distinctive human accomplishment.

Having adequate knowledge of the world is not just a matter of survival but also one of obligation. This obligation to "know well" is what philosophers have termed "epistemic responsibility." In this innovative and eclectic study, Lorraine Code explores the possibilities inherent in this concept as a basis for understanding human attempts to know and understand the world and for discerning the nature of intellectual virtue. By focusing on the idea that knowing is a creative process guided by imperatives of (...) epistemic responsibility, Code provides a fresh perspective on the theory of knowledge. From this new perspective, Code poses questions about knowledge that have a different focus from those traditionally raised in the two leading epistemological theories, foundationalism and coherentism. While not rejecting these approaches, this new position moves away from a primary concentration on determinate products and towards an examination of ever-changing processes. Arguing that knowledge never exists as an ungrounded abstraction but rather emerges through dialogue between variously authoritative "knowers" situated within particular social and historical contexts, she draws extensively on examples from lived social experience to illustrate the ways in which human beings have long tried to recognize and meet their epistemic responsibilities. This edition of Epistemic Responsibility includes a new preface from Lorraine Code"--Provided by the publisher. (shrink)

Section 1 articulates a genus-species claim: that knowledge is a kind of success from ability. Equivalently: In cases of knowledge, S’s success in believing the truth is attributable to S’s ability. That idea is then applied to questions about the nature and value of knowledge. Section 2 asks what it would take to turn the genus-species claim into a proper theory of knowledge; that is, into informative, necessary and sufficient conditions. That question is raised in the context of an important (...) line of objection against even the genus-species claim; namely, that there is no way to understand the attribution relation so that it does all the work that it is supposed to do. Section 3 reviews several extant proposals for understanding the attribution relation, and argues that none of them are adequate for answering the objection. Section 4 proposes a different way of understanding the relation, and shows how the resulting view does resolve the objection. Section 5 completes the new account by proposing a way to understand intellectual abilities. Section 6 briefly addresses Barn Façade cases and lottery propositions. Section 7 briefly addresses a question about the scope of knowledge; in particular, it shows how the new view allows a neo-Moorean response to skepticism. (shrink)

What are the qualities of an excellent thinker? A growing new field, virtue epistemology, answers this question. Section I distinguishes virtue epistemology from belief-based epistemology. Section II explains the two primary accounts of intellectual virtue: virtue-reliabilism and virtue-responsibilism. Virtue-reliabilists claim that the virtues are stable reliable faculties, like vision. Virtue-responsibilists claim that they are acquired character traits, like open-mindedness. Section III evaluates progress and problems with respect to three key projects: explaining low-grade knowledge, high-grade knowledge, and the individual intellectual virtues.

Recent discussion in epistemology has seen a huge growth in interest in the topic of epistemic value. In this paper I describe the background to this new movement in epistemology and critically survey the contemporary literature on this topic.

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)

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)

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)

Ernest Sosa presents a new approach to the problems of knowledge and scepticism. He argues for two levels of knowledge, the animal and the reflective, each viewed as a distinctive human accomplishment. Sosa's virtue epistemology illuminates different varieties of scepticism, the nature and status of intuitions, and epistemic normativity.

Section 1 articulates a genus-species claim: that knowledge is a kind of success from ability. Equivalently: In cases of knowledge, S’s success in believing the truth is attributable to S’s ability. That idea is then applied to questions about the nature and value of knowledge. Section 2 asks what it would take to turn the genus-species claim into a proper theory of knowledge; that is, into informative, necessary and sufficient conditions. That question is raised in the context of an important (...) line of objection against even the genus-species claim; namely, that there is no way to understand the attribution relation so that it does all the work that it is supposed to do. Section 3 reviews several extant proposals for understanding the attribution relation, and argues that none of them are adequate for answering the objection. Section 4 proposes a different way of understanding the relation, and shows how the resulting view does resolve the objection. Section 5 completes the new account by proposing a way to understand intellectual abilities. Section 6 briefly addresses Barn Façade cases and lottery propositions. Section 7 briefly addresses a question about the scope of knowledge; in particular, it shows how the new view allows a neo-Moorean response to skepticism. (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)

In this paper, I do three things. First, I offer an overview of an anti- luck epistemology, as set out in my book, Epistemic Luck. Second, I attempt to meet some of the main criticisms that one might level against the key theses that I propose in this work. And finally, third, I sketch some of the ways in which the strategy of anti- luck epistemology can be developed in new directions.

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.

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)

This paper argues that knowledge is an instance of a more general and familiar normative kind—that of success through ability (or success through excellence, or success through virtue). This thesis is developed in the context of three themes prominent in the recent literature: that knowledge attributions are somehow context sensitive; that knowledge is intimately related to practical reasoning; and that one purpose of the concept of knowledge is to flag good sources of information. Wedding these themes to the proposed account (...) helps to explain a wide range of standard Gettier problems. It also helps to explain barn façade cases, which require a different kind of treatment. (shrink)

Achievements are clearly something that we care about. We want a life rich in achievements, and we value the achievements of others. To be appointed to the job of one's dreams as a result of one's hard work and raw talent, such that it constitutes an achievement on one's part, is far more satisfying and worthy than getting it through other means where no achievement is involved . Similarly, the Olympic goal medal winner who gets her award by being the (...) best in a strong field exhibits an achievement and is lauded for it, but her counterpart who attains the same result through, say, mere good luck , and who thus does not exhibit an achievement, is not gifted nearly as much praise. But what is an achievement, and what is it about achievements that makes us care about them so much? (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)

In this richly argued and provocative book, David Davies elaborates and defends a broad conceptual framework for thinking about the arts that reveals important continuities and discontinuities between traditional and modern art, and between different artistic disciplines. Elaborates and defends a broad conceptual framework for thinking about the arts. Offers a provocative view about the kinds of things that artworks are and how they are to be understood. Reveals important continuities and discontinuities between traditional and modern art. Highlights core topics (...) in aesthetics and art theory, including traditional theories about the nature of art, aesthetic appreciation, artistic intentions, performance, and artistic meaning. (shrink)

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)

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical work—is (...) the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory. (shrink)

This paper considers the view, recently put forward by David Davies in Art and Performance , that works of art should be identified with the generative performances that result in the object, rather than with the object. It attempts to disarm two of Davies arguments by, first, providing a criterion by which the contextualist can accommodate all and only the relevant generative properties as properties of the work, and, second, providing an alternative explanation for his modal intuitions. Finally, it draws (...) attention to Davies’ difficulties in providing a clear criterion for the identity of the work of art. (shrink)