What is morality? In Practical Expressivism, I argue that morality is a purely natural interpersonal co-ordination device, whereby human beings express their attitudes in order to influence the attitudes and actions of others. -/- The ultimate goal of these expressions is to find acceptable ways of living together. This 'expressivist' model for understanding morality faces well-known challenges concerning 'saving the appearances' of morality, because morality presents itself to us as a practice of objective discovery, not pure expression. -/- This book (...) demonstrates how a properly developed expressivist view can overcome this objection, by showing that even if moral practice is fundamentally expressive, it can still come to possess those features that make it appear objective (features such as talk and thought of moral disagreement, truth and belief, and the applicability of logical notions to moral sentences). The key to this development is to emphasise the unique and intricate practical role that morality plays in our lives. Practical expressivism is also practical in the further sense that it provides repeatable patterns that expressivists can deploy in coming to understand the apparently objective features of morality. (shrink)

It is commonly claimed that reliance upon moral testimony is problematic in a way not common to reliance upon non-moral testimony. This chapter provides a new explanation of what the problem consists in—one that enjoys advantages over the most widely accepted explanation in the extant literature. The main theses of the chapter are as follows: that many forms of normative deference beyond the moral are problematic, that there is a common explanation of the problem with all of these forms of (...) deference—an explanation that is based on the connection between the relevant judgments and desire-like attitudes, and that this explanation is compatible with moral realism. (shrink)

This chapter explores two kinds of testimonial trust, what we call ‘evidential trust’ and ‘non-evidential trust’ with the aim of asking how testimonial trust could provide epistemic reasons for belief. We argue that neither evidential nor non-evidential trust can play a distinctive role in providing evidential reasons for belief, but we tentatively propose that non-evidential trust can in some circumstances provide a novel kind of epistemic reason for belief, a reason of epistemic facilitation. The chapter begins with an extensive discussion (...) of standard accounts of both kinds of trust and criticises especially the standard accounts of non-evidential trust. A new account of non-evidential trust is offered that avoids a number of difficulties that plague the standard accounts by rejecting what we call ‘attitude-liability assumptions’. (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)

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)

I call into question a pair of closely related assumptions that are almost universally shared in the literature on predicates of taste. The assumptions are, first, that predicates of taste – words like ‘tasty’ – are semantically evaluative. In other words, that it is part of the meaning of a word like ‘tasty’ to describe an object as in some sense good, or to say that it is pleasing. And second, that the meaning of predicates of taste is in some (...) way relativized to an experiencer or standard – the person that the object is pleasing to or the standard according to which the object is good. Parties to the literature on these terms tend to disagree about the role of context in determining the truth of claims involving predicates of taste, or in determining which proposition is expressed. But they agree that to call some dish ‘tasty’ is to say something positive about that dish, to suggest that someone or other finds, or is disposed to find, the dish pleasing. I suggest instead that ‘tasty’, and indeed... (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)

Expressivism is the view that the function of normative sentences is not to represent a kind of fact, but to avow attitudes, prescribe behavior, or the like. The idea can be found in David Hume. In the 20th century, G.E. Moore’s Open Question Argument provided important support for the view. Elizabeth Anscombe introduced the notion of “direction of fit,” which helped distinguish expressivism from a kind of naive subjectivism. The central advantage of expressivism is that it easily explains the motivational (...) force of moral conviction. Its chief problem is it has difficulty explaining the “realist surface” of moralizing. Quasi-realism is a strategy for explaining the realist surface without abandoning the underlying ideas of expressivism. It aims to explain moral error as well as deal with the so-called Frege-Geach problem. This chapter explains quasi-realism, and evaluates it by comparison with its chief rivals: Aristotelian approaches, Kantian approaches, realist moral naturalism, and fictionalism. (shrink)

McFetridge (in Logical necessity and other essays . London: Blackwell, 1990 ) suggests that to treat a proposition as logically necessary—to believe a proposition logically necessary, and to manifest that belief—is a matter of preparedness to deploy that proposition as a premise in reasoning from any supposition. We consider whether a suggestion in that spirit can be generalized to cover all cases of absolute necessity, both logical and non-logical, and we conclude that it can. In Sect. 2, we explain the (...) significance that such an account of manifestation of belief in absolute necessity has for the prospects of a non-realist theory of modality. In Sect. 3, we offer a sympathetic articulation of the detail that underlies the McFetridge conception of belief in logical necessity. In Sects. 4 and 5, we show that the conception so articulated will not generalize to encompass all cases of belief in absolute necessity and proceed to offer a remedy. Our proposal is based upon a distinction between two kinds of suppositional act: A-supposing and C-supposing (Sect. 6). In Sect. 7, we then explain and defend our central thesis: (roughly) that (manifestation of) belief in absolute necessity is a matter of preparedness to deploy as a premise in reasoning under any C-supposition. Finally, we indicate that there is some promise in the parallel thesis that manifestation of the treatment of a proposition as a priori is a matter of preparedness to deploy as a premise in reasoning under any A-supposition (Sect. 8). (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)

In this paper, I exploit the parallel between epistemic contextualism and metaethical speaker-relativism to argue that a promising way out of two of the primary problems facing contextualism is one already explored in some detail in the ethical case – viz. expressivism. The upshot is an argument for a form of epistemic expressivism modeled on a familiar form of ethical expressivism. This provides a new nondescriptivist option for understanding the meaning of knowledge attributions, which arguably better captures the normative nature (...) of epistemic discourse than descriptivist competitors like invariantism and contextualism. (shrink)

Moral realism and antirealist-expressivism are of course incompatible positions. They disagree fundamentally about the nature of moral states of mind, the existence of moral states of affairs and properties, and the nature and role of moral discourse. The central realist view is that a person who has or expresses a moral thought is thereby in, or thereby expresses, a cognitive state of mind; she has or expresses a belief that represents a moral state of affairs in a way that might (...) be accurate or inaccurate. The view of antirealist-expressivism is that such a person is in, or expresses, a conative state of mind, one that consists in a certain kind of attitude or motivational stance toward something, such as an action or a person. Realism holds that moral thoughts have truth conditions and that in some cases these truth conditions are satisfied so that our moral thoughts are true. Antirealist-expressivism holds, to a first approximation, that the distinctive moral content of a moral thought does not have truth conditions. (shrink)

This book examines some of the deepest questions in philosophy: What is involved in judging a belief, action, or feeling to be rational?

The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility (...) of deriving knowledge from a non- aesthetic description. If this were to be a real possibility, it would certainly disprove the Acquaintance Principle, but its impossibility would not establish it. Furthermore, if the way knowledge were to be derived from a non- aesthetic description were through its enabling a person to imagine the object, a defender of the Acquaintance Principle might simply deem imagining to be a form of first-hand experience. I focus on the possibility of acquiring aesthetic knowledge through reliable testimony because here there is a style of argument that, if correct, would rule out the possibility of knowledge of an item's aesthetic properties being transmitted to someone who lacks the requisite first-hand experience, and the manoeuvre of including imagining under the head of first-hand experience is not available. An argument of this kind is, I believe, the only possible way of establishing the Acquaintance Principle. I try to show that this style of argument fails and that the Acquaintance Principle should be rejected. (shrink)

Moral realismandantirealist-expressivismare of course incompatible positions. They disagree fundamentally about the nature of moral states of mind, the existence of moral states of affairs and properties, and the nature and role of moral discourse. The central realist view is that a person who has or expresses a moral thought is thereby in, or thereby expresses, acognitivestate of mind; she has or expresses abeliefthat represents a moral state of affairs in a way that might be accurate or inaccurate. The view of (...) antirealist-expressivism is that such a person is in, or expresses, aconativestate of mind, one that consists in a certain kind of attitude or motivational stance toward something, such as an action or a person. Realism holds that moral thoughts have truth conditions and that in some cases these truth conditions are satisfied so that our moral thoughts are true. Antirealist-expressivism holds, to a first approximation, that the distinctive moral content of a moral thought does not have truth conditions. (shrink)

You're not as clever as you think you are. Nor for that matter are you as good a driver, teacher or romantic partner as you take yourself to be and, as if that wasn't bad enough, you are also considerably less popular than you have hitherto believed. Finally – and crucially for the argument of this paper – I contend that your abilities as an aesthetic judge are considerably less impressive than you take them to be. To avoid descending into (...) name calling it's worth pointing out that such claims apply to the vast majority of people – myself, somewhat paradoxically, included. (shrink)

I develop a conception of expressivism according to which it is chiefly a pragmatic thesis about some fragment of discourse, one imposing certain constraints on semantics. The first half of the paper uses credal expressivism about the language of probability as a stalking-horse for this purpose. The second half turns to the question of how one might frame an analogous form of expressivism about the language of deontic modality. Here I offer a preliminary comparison of two expressivist lines. The first, (...) expectation expressivism, looks again to Bayesian modelling for inspiration: it glosses deontically modal language as characteristically serving to express decision-theoretic expectation (expected utility). The second, plan expressivism, develops the idea (due to Gibbard 2003) that this language serves to express 'plan-laden' states of belief. In the process of comparing the views, I show how to incorporate Gibbard's modelling ideas into a compositional semantics for attitudes and modals, filling a lacuna in the account. I close with the question whether and how plan expressivism might be developed with expectation-like structure. (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)

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)