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collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years.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)

Beauty is an important part of our lives. Ugliness too. It is no surprise then that philosophers since antiquity have been interested in our experiences of and judgments about beauty and ugliness. They have tried to understand the nature of these experiences and judgments, and they have also wanted to know whether these experiences and judgments were legitimate. Both these projects took a sharpened form in the twentieth century, when this part of our lives came under a sustained attack in (...) both European and American intellectual circles. Much of the discourse about beauty since the Eighteenth century had deployed a notion of the ‘aesthetic’, and so that notion in particular came in for criticism. This disdain for the aesthetic may have roots in a broader cultural Puritanism, which fears the connection between the aesthetic and pleasure. Even to suggest, in the recent climate, that an artwork might be good because it is pleasurable, as opposed to cognitively, morally or politically beneficial, is to court derision. The twentieth century has not been kind to the notions of beauty or the aesthetic. Nevertheless, some thinkers — philosophers, as well as others in the study of particular arts — have persisted in thinking about beauty and the aesthetic in a traditional way. In the first part of this essay, I look at the particular rich account of judgments of beauty given to us by Immanuel Kant. The notion of a ‘judgment of taste’ is central to Kant's account and also to virtually everyone working in traditional aesthetics; so I begin by examining Kant's characterisation of the judgment of taste. In the second part, I look at the issues that twentieth century thinkers have raised. I end by drawing on Kant's accout of the judgement of taste to consider whether the notion of the aesthetic is viable. (shrink)

How can mental properties bring about physical effects, as they seem to do, given that the physical realizers of the mental goings-on are already sufficient to cause these effects? This question gives rise to the problem of mental causation (MC) and its associated threats of causal overdetermination, mental causal exclusion, and mental causal irrelevance. Some (e.g., Cynthia and Graham Macdonald, and Stephen Yablo) have suggested that understanding mental-physical realization in terms of the determinable/determinate relation (henceforth, 'determination') provides the key to (...) solving the problem of MC: if mental properties are determinables of their physical realizers, then (since determinables and determinates are distinct, yet don't causally compete) all three threats may be avoided. Not everyone agrees that determination can do this good work, however. Some (e.g., Douglas Ehring, Eric Funkhauser, and Sven Walter) object that mental-physical realization can't be determination, since such realization lacks one or other characteristic feature of determination. I argue that on a proper understanding of the features of determination key to solving the problem of MC these arguments can be resisted. (shrink)

By treating colours as sui generis intrinsic properties of objects we can maintain that (1) colours are causally responsible for colour experiences (and so agree with the physicalist) and (2) colours, along with the similarity and difference relations that colours bear to one another, are presented to us by casual observation (and so agree with the dispositionalist). The major obstacle for such a view is the causal overdetermination of colour experience. Borrowing and expanding on the works of Sydney Shoemaker and (...) Stephen Yablo, the paper offers a solution. (shrink)

Any property has two sorts of causal features: “forward-looking” ones, having to do with what its instantiation can contribute to causing, and ldquo;backward-looking” ones, having to do with how its instantiation can be caused. Such features of a property are essential to it, and properties sharing all of their causal features are identical. Causal necessity is thus a special case of metaphysical necessity. Appeals to imaginability have no more force against this view than they do against the Kripkean view that (...) statements like “Gold is an element” are metaphysically necessary. (shrink)

Any property has two sorts of causal features: “forward‐looking” ones, having to do with what its instantiation can contribute to causing, and ldquo;backward‐looking” ones, having to do with how its instantiation can be caused. Such features of a property are essential to it, and properties sharing all of their causal features are identical. Causal necessity is thus a special case of metaphysical necessity. Appeals to imaginability have no more force against this view than they do against the Kripkean view that (...) statements like “Gold is an element” are metaphysically necessary. (shrink)

In 1907, Alfred Stieglitz took what was to become one of his signature photographs, The Steerage. Stieglitz stood at the rear of the ocean liner Kaiser Wilhelm II and photographed the decks, first-class passengers above and steerage passengers below, carefully exposing the film to their reflected light. Later, in the darkroom, Stieglitz developed this film and made a number of prints from the resulting negative. The photograph is a familiar one, an enduring piece of social commentary, but what exactly is (...) The Steerage which Stieglitz has given us? It is clearer what The Steerage is not. It is distinct from each of its prints and from its negative. These may be dusty or torn without The Steerage being so, and any one of these could be destroyed without thereby destroying The Steerage itself. Nor is The Steerage the set of its prints. The set could not have had different members, while The Steerage could have had more, fewer, or different prints.1 Similar reasoning rules out the mereological sum of parts of its actual prints, for The Steerage’s prints might not have comprised just these parts. We are left with a puzzle, what sort of thing is a photograph? This puzzle is not unique to photography. Similar reasoning generates an analogous puzzle for any repeatable work of art. Novels, poems, plays, symphonies, songs, and the rest share an ontological predicament and create a 1 general puzzle concerning the ontological status of repeatable works of art. It is widely held that the puzzle has an equally general solution, one which I will argue fails for systematic reasons. Although my target here is the supposed solution to the general problem, photography will remain the central case under scrutiny. I offer it as a model for our thinking about the wider class in order to reap the benefits of thinking in terms of concrete cases. Although this risks a trade-off with the generality of my conclusions—there are important differences of detail between the cases—I hope it is clear that the considerations I appeal to in photography are not idiosyncratic but shared by the wider class.. (shrink)

Sydney Shoemaker argues that the functionalist theory of mind entails a psychological-continuity view of personal identity, as well as providing a defense of that view against a crucial objection. I show that his view has surprising consequences, e.g. that no organism could have mental properties and that a thing's mental properties fail to supervene even weakly on its microstructure and surroundings. I then argue that the view founders on "fission" cases and rules out our being material things. Functionalism tells us (...) little if anything about personal identity. (shrink)

In recent decades, a view of identity I call Sortalism has gained popularity. According to this view, if a is identical to b, then there is some sortal S such that a is the same S as b. Sortalism has typically been discussed with respect to the identity of objects. I argue that the motivations for Sortalism about object-identity apply equally well to event-identity. But Sortalism about event-identity poses a serious threat to the view that mental events are token identical (...) to physical events: A particular mental event m is identical with a particular physical event p only if there is a sortal S such that m and p are both Ss. If there is no such sortal, the doctrine of token-identity is not true. I argue here that we have no good reason for thinking that there is any such sortal. (shrink)

Colors are sensible qualities. They are qualities that objects are perceived to have. Thus, when Norm, a normal perceiver, perceives a blue bead, the bead is perceived have a certain quality, perceived blueness. `Quality', here, is no mere synonym for property; rather, a quality is a kind of property a qualitative, as opposed to quan• titative, property. (The quantitative is a way of contrasting with the qualitative perhaps not the only way.).

In this paper, I hope to reintroduce debate on the issue of aesthetic supervenience, especially in light of work undertaken by metaphysicians in recent years. After providing a brief walkthrough of some of the major views on supervenience generally, including several important metaphysical distinctions, I build upon views by Jerrold Levinson, John Bender, Nick Zangwill, and Gregory Currie, to develop a realist thesis of strong local supervenience, such that aesthetic properties of artworks and other objects depend upon their formal/structural properties (...) and reduce to powers to produce aesthetic effects of particular kinds in suitable perceivers under suitable conditions. (shrink)

In this concise survey, intended for advanced undergraduate students of aesthetics, Alan Goldman focuses on the question of aesthetic value, using many practical examples from painting, music, and literature to make his case. Although he treats a wide variety of views, he argues for a nonrealist view of aesthetic value, showing that the personal element can never be factored out of evaluative aesthetic judgments and explaining why this is so.

In Rediscovering Colors: A Study in Pollyanna Realism, Michael Watkins endorses the Moorean view that colors are simple, non-reducible, properties of objects. Consequently, Watkins breaks from what has become the received view that either colors are reducible to certain properties of interest to science, or else nothing is really colored. What is novel about the work is that Watkins, unlike other Mooreans, takes seriously the metaphysics of colors. Consequently, Watkins provides an account of what colors are, how they are related (...) to the physical properties on which they supervene, and how colors can be causally efficacious without the threat of causal overdetermination. Along the way, he provides novel accounts of normal conditions and non-human color properties. The book will be of interest to any metaphysician and philosopher of mind interested in colors and color perception. (shrink)

In Physical Realization, Sydney Shoemaker considers the question of how physicalism can be true: how can all facts about the world, including mental ones, be constituted by facts about the distribution in the world of physical properties? Physicalism requires that the mental properties of a person are 'realized in' the physical properties of that person, and that all instantiations of properties in macroscopic objects are realized in microphysical states of affairs. Shoemaker offers an account of both these sorts of realization, (...) one which allows the realized properties to be causally efficacious. He also explores the implications of this account for a wide range of metaphysical issues, including the nature of persistence through time, the problem of material constitution, the possibility of emergent properties, and the nature of phenomenal consciousness. (shrink)

Jaegwon Kim is one of the most preeminent and most influential contributors to the philosophy of mind and metaphysics. This collection of essays presents the core of his work on supervenience and mind with two sets of postscripts especially written for the book. The essays focus on such issues as the nature of causation and events, what dependency relations other than causal relations connect facts and events, the analysis of supervenience, and the mind-body problem. A central problem in the philosophy (...) of mind is the problem of explaining how the mind can causally influence bodily processes. Professor Kim explores this problem in detail, criticizes the nonreductionist solution of it, and offers a modified reductionist solution of his own. Both professional philosophers and their graduate students will find this an invaluable collection. (shrink)

Introduced into the philosophical lexicon during the Eighteenth Century, the term ‘aesthetic’ has come to be used to designate, among other things, a kind of object, a kind of judgment, a kind of attitude, a kind of experience, and a kind of value. For the most part, aesthetic theories have divided over questions particular to one or another of these designations: whether artworks are necessarily aesthetic objects; how to square the allegedly perceptual basis of aesthetic judgments with the fact that (...) we give reasons in support of them; how best to capture the elusive contrast between an aesthetic attitude and a practical one; whether to define aesthetic experience according to its phenomenological or representational content; how best to understand the relation between aesthetic value and aesthetic experience. But questions of more general nature have lately arisen, and these have tended to have a skeptical cast: whether any use of ‘aesthetic’ may be explicated without appeal to some other; whether agreement respecting any use is sufficient to ground meaningful theoretical agreement or disagreement; whether the term ultimately answers to any legitimate philosophical purpose that justifies its inclusion in the lexicon. The skepticism expressed by such general questions did not begin to take hold until the later part of the 20th century, and this fact prompts the question whether (a) the concept of the aesthetic is inherently problematic and it is only recently that we have managed to see that it is, or (b) the concept is fine and it is only recently that we have become muddled enough to imagine otherwise. Adjudicating between these possibilities requires a vantage from which to take in both early and late theorizing on aesthetic matters. (shrink)

For three decades the writings of Jaegwon Kim have had a major influence in philosophy of mind and in metaphysics. Sixteen of his philosophical papers, together with several new postscripts, are collected in Kim [1993]. The publication of this collection prompts the present essay. After some preliminary remarks in the opening section, in Section 2 I will briefly describe Kim's philosophical 'big picture' about the relation between the mental and the physical. In Section 3 I will situate Kim's approach on (...) the larger philosophical landscape, vis-à-vis various other approaches frequently discussed in contemporary philosophy of mind. This comparative discussion will further illuminate Kim's own position, and also will serve as groundwork for subsequent discussion. In Section 4 I will point out certain persistent internal tensions in Kim's philosophical position on the mind--body problem, tensions that emerge especially clearly against the backdrop of Section 3's comparative discussion of Kim's position relative to various competing positions. In the remainder of the paper I will focus on two issues at the heart of his position, with particular attention to what he says about them in some of the more recent papers and the postscripts in Kim [1993]. First, how should a materialist understand the notion that the mental is 'determined' by the physical? More specifically, what role, if any, should be played by the concept of supervenience in explicating this kind of determination relation? Kim's views on this matter have recently changed, and I will discuss the issue with particular attention to his own latest remarks on it. This is the business of Section 5. Second, need a viable materialism assert that mentalistic psychology is reducible to neurobiology? More specifically, should a materialist insist on reducibility, despite the currently influential line of argument used by non-reductive materialists, the 'multiple realization' argument? On this matter too, Kim's views have changed somewhat; again, I will discuss the issue with particular attention to his recent thinking. This is the business of Section 6. (shrink)

I shall discuss several related issues about beauty. These are: (1) The place of beauty among other aesthetic properties. (2) The general principle of aesthetic supervenience. (3) The problem of aesthetic relevance. (4) The distinction between free and dependent beauty. (5) The primacy of our appreciation of free beauty over our appreciation of dependent beauty. (6) Personal beauty as a species of beauty. (7) The metaphysics of beauty.