A complete collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years. It addresses many topics, among them the nature of aesthetic qualities versus non-aesthetic qualities, the relation of aesthetic description to aesthetic evaluation, the different levels of evaluation, and the objectivity of aesthetic judgement. The later papers constitute both a significant development of Sibley's individual approach to aesthetics, such as his discussion of the distinction between attributive and predicative (...) uses of adjectives and of the aesthetic significance of tastes and smells, a topic Sibley considered to be much neglected. (shrink)

Moral philosophers agree that welfare matters. But they disagree about what it is, or how much it matters. In this vital new work, Wayne Sumner presents an original theory of welfare, investigating its nature and discussing its importance. He considers and rejects all notable theories of welfare, both objective and subjective, including hedonism and theories founded on desire or preference. His own theory connects welfare closely with happiness or life satisfaction. Reacting against the value pluralism that currently dominates moral philosophy, (...) he advances welfare as the only basic ethical value. He concludes by discussing the implications of this thesis for ethical and political theory. Written in clear, non-technical language, and including a definitive survey of other work in this area, Sumner's book is essential reading for moral philosophers, political theorists, and welfare economists. (shrink)

Introduction -- Ethics and politics -- Ethical judgments -- Pleasure and desire -- Free will -- Ethical principles and methods -- Egoism and self-love -- Chapter viii-intuitionism -- Good -- Book II: Egoism -- The principle and method of egoism -- Empirical hedonism -- Empirical hedonism (continued) -- Objective hedonism and common sense -- Happiness and duty -- Deductive hedonism -- Book III: Intuitionism -- Intuitionism -- Virtue and duty -- The intellectual virtues -- Benevolence -- Justice -- Laws and (...) promises -- Classification of duties. truth -- Other social duties and virtues -- Self-regarding virtues -- Courage, humility, etc. -- Review of the morality of common sense -- Motives or springs of action as subjects of moral judgment -- Philosophical intuitionism -- Ultimate good -- Book IV: Utilitarianism -- The meaning of utilitarianism -- The proof of utilitarianism -- The relation of utilitarianism to the morality of common sense -- The method of utilitarianism -- The method of utilitarianism (continued) -- Concluding chapter: The mutual relations of the three methods. (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)

Winner of the 1975 National Book Award, this brilliant and widely acclaimed book is a powerful philosophical challenge to the most widely held political and social positions of our age--liberal, socialist, and conservative.

It is uncontroversial that our engagement with artworks is constrained by obligations; most commonly, these consist in obligations to other persons, such as artists, audiences, and owners of artworks. A more controversial claim is that we have genuine obligations to artworks themselves. I defend a qualified version of this claim. However, I argue that such obligations do not derive from the supposed moral rights of artworks – for no such rights exist. Rather, I argue that these obligations are instances of (...) duties of love: obligations that one incurs in virtue of loving some object, be it a person or, in this case, an artwork. (shrink)

This paper is a plea for hedonism to be taken more seriously. It begins by charting hedonism's decline, and suggests that this is a result of two major objections: the claim that hedonism is the 'philosophy of swine', reducing all value to a single common denominator, and Nozick's 'experience machine' objection. There follows some elucidation of the nature of hedonism, and of enjoyment in particular. Two types of theory of enjoyment are outlined-intemalism, according to which enjoyment has some special 'feeling (...) tone'. and externalism, according to which enjoyment is any kind of experience to which we take some special attitude, such as that of desire. lnternalism-the traditional view--is defended against current externalist orthodoxy. The paper ends with responses to the philosophy of swine and the experience machine objections. (shrink)

This paper is a plea for hedonism to be taken more seriously. It begins by charting hedonism's decline, and suggests that this is a result of two major objections: the claim that hedonism is the ‘philosophy of swine’, reducing all value to a single common denominator, and Nozick's ‘experience machine’ objection. There follows some elucidation of the nature of hedonism, and of enjoyment in particular. Two types of theory of enjoyment are outlined–internalism, according to which enjoyment has some special ‘feeling (...) tone’, and externalism, according to which enjoyment is any kind of experience to which we take some special attitude, such as that of desire. Internalism–the traditional view–is defended against current externalist orthodoxy. The paper ends with responses to the philosophy of swine and the experience machine objections. (shrink)

In this article I divide theories of aesthetic experience into three sorts: the affectoriented approach, the axiologically oriented approach, and the content-oriented approach. I then go on to defend a version of the content-oriented approach.

Auth: University College London, Distributed by Viking.

Despite being co-opted by economists and politicians for their own purposes, ‘welfare’ traditionally refers to well-being, and it is in this sense that L. W. Sumner understands the term. His book is a clear, careful, and well-crafted investigation into major theories of welfare, accompanied by a one-chapter defense of “welfarism,” the view that welfare is the only foundational value necessary for ethics. Sumner himself is attracted to utilitarianism, but he makes no commitment to it in this work, which will be (...) of interest to many moral philosophers. (shrink)

A lot of qualitatively very different sensations can be pleasant or unpleasant. The Felt-Quality Views that conceive of sensory affect as having an introspectively available common phenomenology or qualitative character face the “heterogeneity problem” of specifying what that qualitative common phenomenology is. In contrast, according to the Attitudinal Views, what is common to all pleasant or unpleasant sensations is that they are all “wanted” or “unwanted” in a certain sort of way. The commonality is explained not on the basis of (...) phenomenology but by a common mental, usually some sort of conative, attitude toward the sensation. Here I criticize both views and offer an alternative framework that combines what is right in both while avoiding their unintuitive commitments. The result is the reductive (psychofunctionalist) adverbial sensory modification view of pleasure and displeasure. (shrink)

Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an account of pleasure-learning, in which it reinforces (...) the appreciation of culture specific ways of engaging with art. (shrink)

Challenging, with several powerful arguments, some of our deepest beliefs about rationality, morality, and personal identity, Parfit claims that we have a false view about our own nature. It is often rational to act against our own best interersts, he argues, and most of us have moral views that are self-defeating. We often act wrongly, although we know there will be no one with serious grounds for complaint, and when we consider future generations it is very hard to avoid conclusions (...) that most of us will find very disturbing. (shrink)

Sour Grapes aims to subvert orthodox theories of rational choice through the study of forms of irrationality. Dr Elster begins with an analysis of the notation of rationality, to provide the background and terms for the subsequent discussions, which cover irrational behaviour, irrational desires and irrational belief. These essays continue and complement the arguments of Jon Elster's earlier book, Ulysses and the Sirens. That was published to wide acclaim, and Dr Elster shows the same versatility here in drawing on philosophy, (...) political and social theory, decision-theory, economics and psychology, as well as history and literature. (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.

I develop a theory of social virtue around the concept of a "social opening" and argue that a range of contemporary terms track various modes of success and failure with respect to social openings: ‘awesome’, ‘down’, ‘chill’, ‘sucks’, ‘wack’, ‘lame’, ‘douchebag’, and others. A basic idea is that the normative character of contemporary social life cannot be fully understood in traditional philosophical terms: ‘obligation’, ‘demand’, ‘duty’, ‘right’, ‘just’, ‘requirement’. ‘Sucks’ and ‘awesome’ (and their ilk) capture a special mode of interpersonal (...) critique. Old modes of critique fall short because contemporary social life embodies a concern for cultivating, expressing, and appreciating individuality. This is partly an aesthetic affair, which flavors the modes of response and critique that constitute the normative framework. I detail how our interest in the "ethics of awesomeness" has influenced a range of post-’60s cultural practices, including art, charity, athletics, public life, and others. (shrink)

Aesthetic Pursuits is a new collection of essays from Jerrold Levinson, one of the most prominent philosophers of art today, focusing on literature, film, and visual art, while addressing issues of humour, beauty, and the emotions. More than half of the essays in the volume are previously unpublished.

The dominant view about the nature of aesthetic value holds it to be response-dependent. We believe that the dominance of this view owes largely to some combination of the following prevalent beliefs: 1 The belief that challenges brought against response-dependent accounts in other areas of philosophy are less challenging when applied to response-dependent accounts of aesthetic value. 2 The belief that aesthetic value is instrumental and that response-dependence about aesthetic value alone accommodates this purported fact. 3 The belief that response-dependence (...) about aesthetic value alone accommodates the widely acknowledged anthropocentricity of aesthetic value. 4 The belief that response-dependence about aesthetic value alone accommodates aesthetic normativity. We argue that each of these beliefs is false, and that the dominance of response-dependent accounts of aesthetic value is therefore largely without foundation. (shrink)

This essay updates Aaron Smuts', 2009 Philosophy Compass piece, “Art and Negative Affect” in light of recent work on the topic. The “paradox of painful art” is the general problem of how it is possible to enjoy or value experiences of art that involve painful emotions. It encompasses both the paradox of tragedy and the paradox of horror. Section 2 lays out a taxonomy of solutions to the paradox of painful art and argues that we should opt for a pluralistic (...) approach rather than seeking a unified solution. Section 3 surveys recent work on the topic, with an emphasis on views holding that it is possible for an experience of art to be pleasant partly in virtue of involving painful emotion. Section 4 suggests a range of phenomena that are not usually considered under the umbrella of the paradox of painful art but that offer promising directions for further research. (shrink)

What is art? What is it to understand a work of art? What is the value of art? Robert Stecker seeks to answer these central questions of aesthetics by placing them within the context of an ongoing debate criticizing, but also explaining what can be learned from, alternative views. His unified philosophy of art, defined in terms of its evolving functions, is used to explain and to justify current interpretive practices and to motivate an investigation of artistic value. Stecker defines (...) art as an item that is an artwork at time t if and only if it is in one of the central art forms at t and is intended to fulfill a function art has at t, or it is an artifact that achieves excellence in fulfilling such a function. Further, he sees the standard of acceptability for interpretations of artworks to be relative to their aim. Finally, he tries to understand the value of artworks through an analysis of literature and the identification of the most important functions of literary works. In addition to offering original answers to major questions of aesthetics, _Artworks_ covers most of the major issues in contemporary analytic aesthetics and discusses many major, as well as many minor, figures who have written about these issues, including Stanley Fish, Joseph Margolis, Richard Rorty, and Richard Shusterman. (shrink)

What possesses aesthetic value? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aesthetic value and other aesthetic concepts? I will also criticize some alternative answers.

The default theory of aesthetic value combines hedonism about aesthetic value with strict perceptual formalism about aesthetic value, holding the aesthetic value of an object to be the value it has in virtue of the pleasure it gives strictly in virtue of its perceptual properties. A standard theory of aesthetic value is any theory of aesthetic value that takes the default theory as its theoretical point of departure. This paper argues that standard theories fail because they theorize from the default (...) theory. (shrink)

Hume is plausibly interpreted as asserting that an artwork is beautiful if and only if it pleases ideal critics. Jerrold Levinson maintains that Hume's commitment to this biconditional gives rise to a problem that occurs neither to Hume nor to his any of his interpreters—the problem of explaining why you should care what pleases ideal critics if you are not one yourself. I argue that this problem arises only if you hold an empiricist theory of aesthetic value—that is, a theory (...) that reduces the aesthetic value of a work to the value of the experience it affords—as Levinson does. I argue that Levinson's own attempted solution to the problem cannot succeed. And I argue that the problem never arises for Hume because his commitment to the biconditional is not a commitment to an empiricist theory of aesthetic value, but to an empiricist theory of aesthetic evaluation. (shrink)

Malcolm Budd speaks for many when he locates the "principal weakness" of Hume's account of the standard of taste in Hume's "blithe optimism about the uniformity of response of his true judges of artistic value". I argue that Hume's optimism is not blithe. I argue, in particular, that it follows from Hume's definition of a true judge that true judges will never disagree, and that it follows from his appeal to the test of time that true judges will agree often (...) enough to support the kind of standard Hume has in mind. (shrink)

Value empiricists in aesthetics claim that we can explain the value of artworks by appeal to the value of the experiences they afford. I raise the question of the value of those experiences. I argue that while there are many values that such experiences might have, none is adequate to explaining the value of the works that afford the experiences. I then turn to defending the alternative to value empiricism, which I dub the object theory . I argue that if (...) there is some problem attending the object theory, commensurate with the problems attending empiricism, no one seems to have any idea what it is. I close by urging that the object theory be granted a fresh hearing. (shrink)

How should we pursue aesthetic value, or incorporate it into our lives, if we want to? Is there an ideal of aesthetic life? Philosophers have proposed numerous answers to the analogous question in moral philosophy, but the aesthetic question has received relatively little attention. There is, in essence, a single view, which is that one should develop a sensibility that would give one sweeping access to aesthetic value. I challenge this view on two grounds. First, it threatens to undermine our (...) "aesthetic love", or the meaningful attachments we form with aesthetic items, e.g., poems, paintings, songs, or items of design and dress. Second, it fails to accommodate the motivational character of our encounter with beauty, which can diminish our desire to pursue the wider world of aesthetic value. I conclude that whatever the aesthetic ideal is, it must reconcile our desire to broaden our access to aesthetic value with our desire to maintain and cultivate our meaningful aesthetic attachments. I motivate the alternative thought that having style is the aesthetic ideal. (shrink)

In “Artistic Worth and Personal Taste,” Jerrold Levinson develops a problem for those who think we should strive to be “ideal critics” in our aesthetic lives. He then offers several solutions to this problem. I argue that his solutions miss the mark and that the problem he characterizes may not be genuine after all.

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)

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over longer periods, it plays a (...) critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)

Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.

Aesthetic hedonists agree that an aesthetic value is a property of an item that stands in some constitutive relation to pleasure. Surprisingly, however, aesthetic hedonists need not reduce aesthetic normativity to hedonic normativity. They might demarcate aesthetic value as a species of hedonic value, but deny that the reason we have to appreciate an item is simply that it pleases. Such is the approach taken by an important strand of South Asian rasa theory that is represented with great clarity and (...) ingenuity in the work of K. C. Bhattacharyya. Bhattacharyya is an aesthetic hedonist who grounds aesthetic normativity in freedom. (shrink)

A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at (...) pleasure. Yet their reasons for acting are aesthetic. Since aesthetic values figure in aesthetic reasons, we can read a nonempiricist theory of aesthetic value off aesthetic experts’ reasons for acting. (shrink)