In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...) well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (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.

What are the philosophical views of contemporary professional philosophers? We surveyed many professional philosophers in order to help determine their views on 30 central philosophical issues. This article documents the results. It also reveals correlations among philosophical views and between these views and factors such as age, gender, and nationality. A factor analysis suggests that an individual's views on these issues factor into a few underlying components that predict much of the variation in those views. The results of a metasurvey (...) also suggest that many of the results of the survey are surprising: philosophers as a whole have quite inaccurate beliefs about the distribution of philosophical views in the profession. (shrink)

For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.

Does this Bonnes-Mares really have notes of chocolate, truffle, violets, and merde de cheval? Can wines really be feminine, profound, pretentious, or cheeky? Can they express emotion or terroir? Do the judgements of 'experts' have any objective validity? Is a great wine a work of art? Questions like these will have been entertained by anyone who has ever puzzled over the tasting notes of a wine writer, or been baffled by the response of a sommelier to an innocent question. Only (...) recently, however, have they received the serious philosophical attention they deserve. Touching on issues in metaphysics, epistemology, the philosophy of mind, and aesthetics, this book provides a clear and engaging discussion of the philosophical significance of wine that will be accessible to all wine lovers, specialists and non-specialists alike. The author offers throughout a sustained defence of the objectivity of wine judgements, a demystification of the nature of expertise, and a theory of the aesthetic value of wine and its appreciation. (shrink)

In his article “Category Independent Aesthetic Experience: The Case of Wine” in this journal, David Sackris presents arguments against Kendall Walton’s view in the famous article “Categories of Art.”David Sackris, “Category Independent Aesthetic Experience: The Case of Wine,” The Journal of Value Inquiry, 47 (2013), pp. 111–120; Kendall Walton, “Categories of Art,” in Steven M. Cahn and Aaron Meskin (Eds) Aesthetics: A Comprehensive Anthology. (Oxford: Blackwell, 2007), pp. 521–537. [First published in The Philosophical Review, 79 (1970), pp. 334–367.] He claims, (...) with support in an argument about the immediate qualities of great wines, that for some kinds of aesthetic appreciation specific category knowledge is not necessary. We welcome the idea that wine appreciation is an aesthetic practice, and more importantly the view that the features of wine appreciation might shed light on, or even transform our understanding of aesthetic experience more generally. The article also draws welcom .. (shrink)

Social scientists are often interested in understanding how the dynamics of social systems are driven by the behavior of individuals that make up those systems. However, this process is hindered by the difficulty of experimentally studying how individual behavioral tendencies lead to collective social dynamics in large groups of people interacting over time. In this study, we investigate the role of social influence, a process well studied at the individual level, on the puzzling nature of success for cultural products such (...) as books, movies, and music. Using a “multiple‐worlds” experimental design, we are able to isolate the causal effect of an individual‐level mechanism on collective social outcomes. We employ this design in a Web‐based experiment in which 2,930 participants listened to, rated, and downloaded 48 songs by up‐and‐coming bands. Surprisingly, despite relatively large differences in the demographics, behavior, and preferences of participants, the experimental results at both the individual and collective levels were similar to those found in Salganik, Dodds, and Watts (2006). Further, by comparing results from two distinct pools of participants, we are able to gain new insights into the role of individual behavior on collective outcomes. We conclude with a discussion of the strengths and weaknesses of Web‐based experiments to address questions of collective social dynamics. (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)

Kendall Walton’s “Categories of Art” seeks to situate aesthetic properties contextually. As such, certain knowledge is required to fully appreciate the aesthetic properties of a work, and without that knowledge the ‘correct’ or ‘true’ aesthetic properties of a work cannot be appreciated. The aim of this paper is to show that the way Walton conceives of his categories and art categorization is difficult to square with certain kinds of aesthetic experience—kinds of experience that seems to defy this claim of category-dependence (...) for aesthetic properties. The argument will be advanced for category-free aesthetic experience by considering Barry C. Smith’s account of wine-tasting and his description of his wine drinking ‘epiphany’. (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)

The theory of taste faces a neglected epistemological problem. The cultivation of taste is functionally dependent upon self-knowledge of aesthetic satisfaction and its causes, in other words, knowing what we like and why. However, reservations about the reliability of our knowledge of our responses, commonplace in social psychology and the philosophy of mind, pose serious obstacles to the theory of taste. I argue for a weak fallibilism with respect to introspective beliefs about aesthetic experience. I call for a naturalistic approach (...) to the theory of taste that accounts for the unreliability of aesthetic self-knowledge. (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 book represents the first full-length study of the aesthetics of the appreciation of wine. It introduces and argues for the validity and significance of several new concepts: competency, project, and aesthetic practices. Using these concepts -- together with analyses borrowed from cognitive science, sensory science, Husserlian phenomenology and hermeneutics -- the case is made that wine can be a proper and indeed significant object of aesthetic attention. The implications of this are pursued in three ways: First, within the culture (...) of wine, with a sustained treatment of important concepts such as terroir; second, within philosophical aesthetics. The latter results in a position termed 'contextual aesthetics' that sees aesthetic acts as always situated within cultural practices, and given meaning thereby. The third implication is for the cultural and aesthetic value accorded to the various senses, and the kinds of underlying issues that might have led to, and might now lead away from, these values. (shrink)

It has been argued that some recent experimental findings about the mere exposure effect can be used to argue for aesthetic antirealism: the view that there is no fact of the matter about aesthetic value. The aim of this paper is to assess this argument and point out that this strategy, as it stands, does not work. But we may still be able to use experimental findings about the mere exposure effect in order to engage with the aesthetic realism/antirealism debate. (...) However, this argument would need to proceed very differently and would only support a much more modest version of aesthetic antirealism. (shrink)