This article defends the content approach to aesthetic experience. It begins by sketching this approach to aesthetic experience. It then rehearses certain recent criticisms of the view by Alan Goldman and attempts to rebut them. One of those criticisms raises a long-standing concern about the author's account that has recently been called the “qua” problem. The article concludes by putting this issue to rest.

This collection of ten essays elucidates some of the more challenging aspects of Anscombe’s work and affirms her reputation as one of our most original ...

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (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)

This chapter contains sections titled: The Cognitive Background to the Aesthetic Problem Wine, Cognition and Philosophy The Phenomenology of “Projects” The Aesthetic Project Notes.

Taste as Experience puts the pleasure of food at the center of human experience. It shows how the sense of taste informs our preferences for and relationship to nature, pushes us toward ethical practices of consumption, and impresses upon us the importance of aesthetics. Eating is often dismissed as a necessary aspect of survival, and our personal enjoyment of food is considered a quirk. Nicola Perullo sees food as the only portion of the world we take in on a daily (...) basis, constituting our first and most significant encounter with the earth. Perullo has long observed people's food practices and has listened to their food experiences. He draws on years of research to explain the complex meanings behind our food choices and the thinking that accompanies our gustatory actions. He also considers our indifference toward food as a force influencing us as much as engagement. For Perullo, taste is value and wisdom. It cannot be reduced to mere chemical or cultural factors but embodies the quality and quantity of our earthly experience. (shrink)

We argue that there is significant evidence for reconsidering the possibility that moral judgment constitutes a distinctive category of judgment. We begin by reviewing evidence and arguments from neuroscience and philosophy that seem to indicate that a diversity of brain processes result in verdicts that we ordinarily consider “moral judgments”. We argue that if these findings are correct, this is plausible reason for doubting that all moral judgments necessarily share common features: if diverse brain processes give rise to what we (...) refer to as “moral judgments”, then we have reason to suspect that these judgments may have different features. After advancing this argument, we show that giving up the unity of moral judgment seems to effectively dissolve the internalism/externalism debate concerning motivation within the field of metaethics. (shrink)

Owen Flanagan argues in this book for a more psychologically realistic ethical reflection and spells out the ways in which psychology can enrich moral philosophy. Beginning with a discussion of such "moral saints" as Gandhi, Mother Teresa, and Oskar Schindler, Flanagan charts a middle course between an ethics that is too realistic and socially parochial and one that is too idealistic, giving no weight to our natures.

I argue that the debate concerning the nature of first-person moral judgment, namely, whether such moral judgments are inherently motivating or whether moral judgments can be made in the absence of motivation, may be founded on a faulty assumption: that moral judgments form a distinct kind that must have some shared, essential features in regards to motivation to act. I argue that there is little reason to suppose that first-person moral judgments form a homogenous class in this respect by considering (...) an ordinary case: student readers of Peter Singer’s “Famine, Affluence, and Morality”. Neither internalists nor externalists can provide a satisfying account as to why our students fail to act in this particular case, but are motivated to act by their moral judgments in most cases. I argue that the inability to provide a satisfying account is rooted in this shared assumption about the nature of moral judgments. Once we consider rejecting the notion that first-person moral decision- making forms a distinct kind in the way it is typically assumed, the internalist/externalist debate may be rendered moot. (shrink)

Being for Beauty has two ambitions. It makes a case that the network theory of aesthetic value has enough going for it to be taken seriously in philosophical aesthetics, and in work on practical values and reasons more generally. In addition, by illustrating how much room we have to maneuver outside the bounds of aesthetic hedonism, the book invites work on alternative approaches. James Shelley, Julia Driver, and Samantha Matherne take up the invitation with such aplomb that one might declare (...) success on the second ambition and merely comment on how their proposals might be further developed. Nevertheless, since its explanatory power is precisely what gives us room to maneuver, what follows also sticks up for the network theory. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

Ontologies are being used increasingly to promote the reusability of scientific information by allowing heterogeneous data to be integrated under a common, normalized representation. Definitions play a central role in the use of ontologies both by humans and by computers. Textual definitions allow ontologists and data curators to understand the intended meaning of ontology terms and to use these terms in a consistent fashion across contexts. Logical definitions allow machines to check the integrity of ontologies and reason over data annotated (...) with ontology terms to make inferences that promote knowledge discovery. Therefore, it is important not only to include in ontologies multiple types of definitions in both formal and in natural languages, but also to ensure that these definitions meet good quality standards so they are useful. While tools such as Protégé can assist in creating well-formed logical definitions, producing good definitions in a natural language is still to a large extent a matter of human ingenuity supported at best by just a small number of general principles. For lack of more precise guidelines, definition authors are often left to their own personal devices. This paper aims to fill this gap by providing the ontology community with a set of principles and conventions to assist in definition writing, editing, and validation, by drawing on existing definition writing principles and guidelines in lexicography, terminology, and logic. (shrink)

We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...) aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment. (shrink)

Peter Kivy and Noël Carroll advocate a narrow view of aesthetic experience according to which it consists mainly in attention to formal properties. Excluded are cognitive and moral properties. I defend the broader view that includes the latter properties. I argue first that cognition and moral assessment can be inseparable in experience from grasp of form and expressiveness. Second, Kivy and Carroll must extend the notion of form itself beyond ordinary usage to accommodate acknowledged aesthetic experience. Third, the broad view (...) has a more impressive historical lineage than the narrow view. Fourth, aesthetic experience is appreciation of aesthetic value, and the latter is more plausibly analyzed in a broad way. (shrink)

Non-cognitivists claim to be able to represent normative judgment, and especially moral judgment, as an expression of a non-cognitive attitude. There is some reason to worry whether their treatment can incorporate agent centred theories, including much of common sense morality. In this paper I investigate the prospects for a non-cognitivist explanation of what is going on when we subscribe to agent centred theories or norms. The first section frames the issue by focusing on a particularly simple and clear agent centred (...) theory, egoism. The second section poses the difficulty faced by non-cognitivist analyses of such theories and norms, and runs briefly through a couple of abortive attempts to solve it. The third section offers a solution and explains it. The fourth section uses the account developed in the third section to show in what way agent centred judgments are universalizable and in what way they are not. (shrink)

A position has been advanced by a number of philosophers, notably by Burnham and Skilleås, that certain knowledge is required to aesthetically appreciate a fine wine. They further argue that pleasure is not an integral part of aesthetically appreciating wine. Their position implies that a novice cannot aesthetically appreciate a fine wine. This paper draws on research into tasting and psychology to rebut these claims. I argue that there is strong evidence from both the average consumer and from wine experts (...) that they are unable to separate enjoyment from aesthetic evaluation; secondly, I argue that wine knowledge may actually preclude tasting of the wine as it exists in the glass due to perceptual bias. I conclude by arguing that it is unclear how exactly knowledge of things like terroir is supposed to affect the taste, as well as question what role conforming to a certain style plays in aesthetic success, as arguments that require knowledge for appreciation typically emphasize knowledge of styles of wine. (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)

Do psychopaths make moral judgments but lack motivation? Or are psychopaths’ judgments are not genuinely moral? Both sides of this debate seem to assume either externalist or internalist criteria for the presence of moral judgment. However, if moral judgment is a natural kind, we can arrive at a theory-neutral criterion for moral judgment. A leading naturalistic criterion suggests that psychopaths have an impaired capacity for moral judgment; the capacity is neither fully present nor fully absent. Psychopaths are therefore not counterexamples (...) to internalism. Nonetheless, internalism is empirically problematic because it is unable to explain psychopaths’ moral deficits. (shrink)

In this essay I argue that moral judgment is a natural kind by developing an empirically grounded theory of the distinctive conceptual content of moral judgments. Psychological research on the moral/conventional distinction suggests that in moral judgments right and wrong, good and bad, praiseworthiness and blameworthiness, etc. are conceptualized as serious, general, authority-independent, and objective. After laying out the theory and the empirical evidence that supports it, I address recent empirical and conceptual objections. Finally, I suggest that the theory uniquely (...) accounts for the possibility of genuine moral agreement and disagreement. (shrink)

I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these two (...) came to be described in the early twentieth century. (shrink)

This article aims to answer the aesthetic-value question.

Ordinary people often make moral judgments that are consistent with philosophical principles and legal distinctions. For example, they judge killing as worse than letting die, and harm caused as a necessary means to a greater good as worse than harm caused as a side-effect (Cushman, Young, & Hauser, 2006). Are these patterns of judgment produced by mechanisms specific to the moral domain, or do they derive from other psychological domains? We show that the action/omission and means/side-effect distinctions affect nonmoral representations (...) and provide evidence that their role in moral judgment is mediated by these nonmoral psychological representations. Specifically, the action/omission distinction affects moral judgment primarily via causal attribution, while the means/side-effect distinction affects moral judgment via intentional attribution. We suggest that many of the specific patterns evident in our moral judgments in fact derive from nonmoral psychological mechanisms, and especially from the processes of causal and intentional attribution. (shrink)

I argue that moral judgement is a natural kind on the grounds that it plays a causal/explanatory role in psychological generalizations. I then develop an empirically grounded theory of its identity as a natural kind. I argue that moral judgement is a hybrid state of moral belief and moral emotion. This hybrid theory supports the role of moral judgement in explanations of reasoning and action and also supports its role in a dual process model of moral cognition. Although it is (...) composed of moral belief and moral emotion, moral judgement is unified, like other natural kinds, in virtue of underlying mechanisms that generate homeostasis among its components. Finally, this theory about the unity of moral judgement resolves a longstanding puzzle about moral motivation. The view explains how it is that moral judgements motivate all on their own but not all the time. (shrink)