The puzzle that concerns me is whether it is possible to establish a substantive difference between photographic images and other kinds of visual image, which can explain the special epistemic and aesthetic qualities of photographs, without giving way to scepticism about photographic art. In this essay I offer a philosophical account of the photographic process which is able to resolve this tension. I use this account to argue that, while some photographs are mind independent, mind independence is not (...) a defining feature of all photographs. My account is substantive because it distinctively distinguishes the photographic process from other image-making processes and is able to explain the special qualities of photographs. It is also schematic, because it covers the fullest range of photographic technologies across a comprehensive range of applications. Finally, it is clarificatory because it is able to clear up misunderstandings and resolve philosophical problems. Beyond these theoretical aims, my broader purpose is to provide an account that has applicability for a wide range of art history cases and, furthermore, is acceptable to photographic practitioners. The paper was first presented at the Stockholm Museum of Modern Art, in an interdisciplinary symposium. (shrink)

We are told by philosophers that photographs are a distinct category of image because the photographic process is mind-independent. Furthermore, that the experience of viewing a photograph has a special status, justified by a viewer’s knowledge that the photographic process is mind-independent. Versions of these ideas are central to discussions of photography in both the philosophy of art and epistemology and have far-reaching implications for science, forensics and documentary journalism. Mind-independence (sometimes ‘belief independence’) is a term employed to highlight what (...) is important in the idea that photographs can be produced naturally, mechanically, accidentally or automatically. Insofar as the process is physical, natural, mechanical or causal it can occur without human agency or intervention, entirely in the absence of intentional states. Presented innocuously, the idea is that although photographs are dependent on natural or mechanical processes, they can be produced independently of human agency – particularly human beliefs. Presented in a stronger form, the claim is that even if human agency is heavily involved in the production process, the definitive features that make the photograph a photograph and determine its salient properties are nonetheless independent of human minds. In epistemic debates, mind-independence is viewed as essential for explaining why photographs occupy a distinct category among images and justifying a variety of claims about their privileged epistemic and affective status in science, forensics, popular culture and journalism. But, in the philosophy of art, claims about mind-. (shrink)

This essay is an introduction to the Routledge Handbook of Philosophy of Colour. Why has the examination of many different aspects of colour been a prominent feature in philosophy, to such an extent that the topic is worthy of a handbook? Here are two related answers. First, colours are exceedingly familiar, seemingly simple features that become enigmatic under scrutiny, and they are difficult to capture in any familiar-sounding, unsophisticated theory. Second, through colour one can confront various problems that span the (...) breadth of philosophy, including problems pertaining to perception, the mind-body relation, the nature of science, scepticism, vagueness, meta-ethics, and aesthetics. In this introduction we elaborate and guide the reader to the essays in the rest of this volume. (shrink)

The Scottish philosopher David Hume (1711-1776) is widely regarded as the greatest and most significant English-speaking philosopher and often seen as having had the most influence on the way philosophy is practiced today in the West. His reputation is based not only on the quality of his philosophical thought but also on the breadth and scope of his writings, which ranged over metaphysics, epistemology, morals, politics, religion, and aesthetics. The Handbook's 38 newly commissioned chapters are divided into six parts: Central (...) Themes; Metaphysics and Epistemology; Passion, Morality and Politics; Aesthetics, History, and Economics; Religion; Hume and the Enlightenment; and After Hume. The volume also features an introduction from editor Paul Russell and a chapter on Hume's biography. (shrink)

The paper is a dialogue between a conservation architect who works on medieval churches and an analytic aesthetician interested in the principles underlying restoration and conservation. The focus of the debate is the explanatory role of narrative in understanding and justifying elective changes to historic buildings. For the architect this is a fruitful model and offers a basis for a genuinely new approach to a philosophy of conservation. The philosopher, however, has been sceptical about appeals to narrative in other contexts (...) (for example, self-identity), and rehearses some reasons for this scepticism. The dialogue explores the pros and cons of the narrative approach to conservation and seeks to forge a compromise that acknowledges concerns about inflated claims for narrative while pursuing the merits of this particular application. (shrink)

Scepticism about ought simpliciter is the view that there is no such thing as what one ought simpliciter to do. Instead, practical deliberation is governed by a plurality of normative standpoints, each authoritative from their own perspective but none authoritative simpliciter. This paper aims to resist such scepticism. After setting out the challenge in general terms, I argue that scepticism can be resisted by rejecting a key assumption in the sceptic’s argument. This is the assumption that standpoint-relative (...) ought judgments bring with them a commitment to act in accordance with those judgments. Instead, I propose an alternative account of our normative concepts according to which only ought simpliciter judgments commit one to acting in accordance with those judgments. In addition to answering the sceptical challenge, the proposal offers an independently motivated account of what makes a concept normatively authoritative. (shrink)

The relation of scepticism to infallibilism and fallibilism is a contested issue. In this paper I argue that Cartesian sceptical arguments, i.e. sceptical arguments resting on sceptical scenarios, are neither tied to infallibilism nor collapse into fallibilism. I interpret the distinction between scepticism and fallibilism as a scope distinction. According to fallibilism, each belief could be false, but according to scepticism all beliefs could be false at the same time. However, to put this distinction to work sceptical (...) scenarios have to be understood as ignorance-possibilities, not as error-possibilities. To show that scepticism is not tied to infallibilism I reject the principle of unrestricted relevance according to which any error- or ignorance-possibility whatsoever is relevant. Instead I argue that the sceptic should distinguish between local and global ignorance-possibilities. Global ignorance-possibilities are relevant even though not all ignorance-possibilities are relevant. The result is a refined version of the Cartesian sceptical argument that avoids two traps other versions do not avoid. (shrink)

I focus on a key argument for global external world scepticism resting on the underdetermination thesis: the argument according to which we cannot know any proposition about our physical environment because sense evidence for it equally justifies some sceptical alternative (e.g. the Cartesian demon conjecture). I contend that the underdetermination argument can go through only if the controversial thesis that conceivability is per se a source of evidence for metaphysical possibility is true. I also suggest a reason to doubt (...) that conceivability is per se a source of evidence for metaphysical possibility, and thus to doubt the underdetermination argument. (shrink)

I advocate scepticism about epistemic blame; the view that we have good reason to think there is no distinctively epistemic form of blame. Epistemologists often find it useful to draw a distinction between blameless and blameworthy norm violation. In recent years, this has led several writers to develop theories of ‘epistemic blame.’ I present two challenges against the very idea of epistemic blame. First, everything that is supposedly done by epistemic blame is done by epistemic evaluation, at least according (...) to a prominent view about the social role of epistemic evaluation. Parsimony considerations count against introducing an idle mechanism that does the same work as an existing one. Second, no current theory of epistemic blame includes a plausible account of the force of epistemic blame or the practices that could express it. I conclude that we should give up the notion of epistemic blame. (shrink)

The classical arguments for scepticism about the external world are defended, especially the symmetry argument: that there is no reason to prefer the realist hypothesis to, say, the deceitful demon hypothesis. This argument is defended against the various standard objections, such as that the demon hypothesis is only a bare possibility, does not lead to pragmatic success, lacks coherence or simplicity, is ad hoc or parasitic, makes impossible demands for certainty, or contravenes some basic standards for a conceptual or (...) linguistic scheme. Since the conclusion of the sceptical argument is not true, it is concluded that one can only escape the force of the argument through some large premise, such as an aptitude of the intellect for truth, if necessary divinely supported. (shrink)

Aesthetic reasons are reasons to do and think various things. For example, it makes sense to wonder if a tree stump on the lawn was left there for environmental rather than aesthetic reasons, or for no reason at all. Aesthetic considerations of this kind are often contrasted with non-aesthetic reasons—such as moral or epistemic reasons. For example, they seem connected to pleasure-in-experience in a distinctive way that differs from paradigmatic moral reasons. Relatedly, the authority of (...) class='Hi'>aesthetic reasons has often been thought to involve less of an “external demand” upon us than in the other cases. In this chapter, I suggest that such distinctiveness and modesty coheres well with an anti-realist treatment that views them as non-objective in nature. I then go on to consider an alternative, more robustly realist conception of aesthetic reasons. (shrink)

This paper presents a particularist and naturalist response to epistemic relativism. The response is based on an analysis of the source of epistemic relativism, according to which epistemic relativism is closely related to Pyrrhonian scepticism. The paper starts with a characterization of epistemic relativism. Such relativism is explicitly distinguished from epistemological contextualism. Next the paper presents an argument for epistemic relativism that is based on the Pyrrhonian problem of the criterion. It then considers a response to the problem of (...) the criterion proposed by Roderick Chisholm, which is based on epistemological particularism. After sketching Chisholm’s approach, a response to epistemic relativism is presented which combines Chisholm’s particularism with epistemic naturalism and reliabilism. A number of objections to the position are then considered. The paper ends with remarks about the relationship between particularism and the naturalistic response proposed to epistemic relativism. (shrink)

This article explores the relationship between epistemic relativism and Pyrrhonian scepticism. It is argued that a fundamental argument for contemporary epistemic relativism derives from the Pyrrhonian problem of the criterion. Pyrrhonian scepticism is compared and contrasted with Cartesian scepticism about the external world and Humean scepticism about induction. Epistemic relativism is characterized as relativism due to the variation of epistemic norms, and is contrasted with other forms of cognitive relativism, such as truth relativism, conceptual relativism and (...) ontological relativism. An argument from the Pyrrhonian problem of the criterion to epistemic relativism is presented, and is contrasted with three other arguments for epistemic relativism. It is argued that the argument from the criterion is the most fundamental argument for epistemic relativism. Finally, it is noted how the argument of the present paper fits with the author’s previous suggestion that a particularist response to the Pyrrhonian sceptic may be combined with a naturalistic view of epistemic warrant to meet the challenge of epistemic relativism. (shrink)

While there seems to be much evidence that perceptual states can occur without being conscious, some theorists recently express scepticism about unconscious perception. We explore here two kinds of such scepticism: Megan Peters and Hakwan Lau's experimental work regarding the well-known problem of the criterion -- which seems to show that many purported instances of unconscious perception go unreported but are weakly conscious -- and Ian Phillips' theoretical consideration, which he calls the 'problem of attribution' -- the worry (...) that many purported examples of unconscious perception are not perceptual, but rather merely informational and subpersonal. We argue that these concerns do not undermine the evidence for unconscious perception and that this sceptical approach results in a dilemma for the sceptic, who must either deny that there is unconscious mentality generally or explain why perceptual states are unique in the mind such that they cannot occur unconsciously. Both options, we argue, are problematic. (shrink)

If it works, I can use Putnam’s vat argument to show that I have not always been a brain-in-a-vat. It is widely thought that the vat argument is of no use against closure scepticism – that is, scepticism motivated by arguments that appeal to a closure principle. This is because, even if I can use the vat argument to show that I have not always been a BIV, I cannot use it to show that I was not recently (...) envatted, and it is thought that the claim that I am not justified in thinking that I was not recently envatted is all that the closure sceptic requires. In this paper I first argue that scenarios in which I have been recently envatted are inadequate for the sceptic’s purposes, and so the standard argument that the vat argument is of no use against closure scepticism fails. I then argue that it is not possible to revise the standard argument to meet my objection. I conclude that, if it works, I can use the vat argument as a defence against closure scepticism. (shrink)

According to the standard view, Montaigne’s Pyrrhonian doubts would be in the origin of Descartes’ radical Sceptical challenges and his cogito argument. Although this paper does not deny this influence, its aim is to reconsider it from a different perspective, by acknowledging that it was not Montaigne’s Scepticism, but his Stoicism, which played the decisive role in the birth of the modern internalist conception of subjectivity. Cartesian need for certitude is to be better understood as an effect of the (...) Stoic model of wisdom, which urges the sage to build an inner space for self-sufficiency and absolute freedom. (shrink)

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, (...) or making music together. This article argues that we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

To what extent are the answers to theological questions knowable? And if the relevant answers are knowable, which sorts of inquirers are in a position to know them? In this chapter we shall not answer these questions directly but instead supply a range of tools that may help us make progress here. The tools consist of plausible structural constraints on knowledge. After articulating them, we shall go on to indicate some ways in which they interact with theological scepticism. In (...) some cases the structural constraints bear directly on whether one can know answers to theological questions. But the structural considerations are related to theological scepticism in other interesting ways as well; for instance we will also be using them to explore the significance of scepticism, by addressing questions such as ‘To what extent does it matter whether or not we can know the answer to theological questions?’. (shrink)

The aesthetic domain is a social one. We coordinate our individual acts of creation, appreciation, and performance with those of others in the context of social aesthetic practices. More strongly, many of the richest goods of our aesthetic lives are constitutively social; their value lies in the fact that individuals are engaged in joint aesthetic agency, participating in cooperative and collaborative project that outstrips what can be realized alone. I provide an account of nature and value (...) of two such social aesthetic goods—aesthetic communities and aesthetic traditions—and further argue that such goods are a core constituent of an aesthetically good life. At the same time, I argue that the ideals of the dominant theory of aesthetic value, aesthetic value hedonism, are incompatible with a full commitment to these social aesthetic goods; the hedonist is thereby alienated from the other participants within aesthetic communities and traditions. This sets up a dilemma for the hedonist: either the hedonist must bite the bullet, accepting that the theory leads to a problematic form of aesthetic alienation; or, we must reject aesthetic value hedonism and adopt a different theory of aesthetic value which accommodates the value of social aesthetic goods. I argue that we should take the second horn of the dilemma. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact (...) of moral changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (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)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or (...) not these arguments suffice to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)

What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of (...) this is that there are aesthetic obligations to act, not only permissions. So, I conclude, the aesthetic asks little of us as patients and much of as agents. (shrink)

In this paper, we develop a novel response to counterfactual scepticism, the thesis that most ordinary counterfactual claims are false. In the process we aim to shed light on the relationship between debates in the philosophy of science and debates concerning the semantics and pragmatics of counterfactuals. We argue that science is concerned with many domains of inquiry, each with its own characteristic entities and regularities; moreover, statements of scientific law often include an implicit ceteris paribus clause that restricts (...) the scope of the associated regularity to circumstances that are ‘fitting’ to the domain in question. This observation reveals a way of responding to scepticism while, at the same time, doing justice both to the role of counterfactuals in science and to the complexities inherent in ordinary counterfactual discourse and reasoning. (shrink)

Many philosophers claim that we have a duty to know our motives. However, prominent theories of the mind suggest that we can’t. Such scepticism about knowledge of one’s motives is based on psychological evidence. I show that this evidence only mandates scepticism about knowledge of one’s motives if we rely on a mistaken assumption which I call ‘the myth of the one true motive’. If we reject this myth, we see that there is space to plausibly interpret the (...) empirical data such that knowledge of one’s motives is difficult, but not impossible. (shrink)

The irreducibility thesis of phenomenal consciousness can only succeed against the sceptical attack and avoid solipsism iff it can coherently establish the transition from subjective certainty to the objectivity of knowledge. The sceptical attack on the relationship between the phenomenal qualitative character of experience about the subjects own mental fact and the awareness of the qualitative properties of the phenomenal object can be avoided through establishing the immediacy of experience. The phenomenal realist become successful in establishing the subjective certainty about (...) the knowledge of phenomenal consciousness, however, has been failed in establishing objective certainty of knowledge, which leads to several epistemological problems (i.e., scepticism about the independent existence of external world, knowledge about the external reality and the existence of other mind; popularly known as the harder problem of consciousness) in philosophy of mind. In this paper, my objective is to reveal the undesirable consequences of representationalism. Representationalism is not an ideal option for responding to the sceptical attack against the other minds and the reality of the external world. It always leaves an open question for us about the relation between the representation of the object of experience and consciousness. Representationalistic theories of experience violates the principles of phenomenality by rejecting the immediacy of experience and has been committing the pragmatic contradiction by reducing the phenomenal properties to representational properties. The categorization of knowledge about phenomenality as inferential knowledge by representationalist leave no room for foundational knowledge about phenomenality. (shrink)

Aesthetic non-naturalism is the view that there are objective aesthetic truths that hold in virtue of sui generis facts. This view is seldom explicitly endorsed in philosophical aesthetics. I argue that many aestheticians should treat it as the view to beat, since (a) their commitments favour aesthetic realism, (b) non-naturalistic forms of aesthetic realism are particularly promising and (c) non-naturalists have reasonable answers to four important objections.

The Socratic Paradox (that only Socrates is wise, and only because only he recognizes our lack of wisdom) is explained, elaborated and defended. His philosophical scepticism is distinguished from others (Pyrrhonian, Cartesian, Humean, Kripkean Wittgenstein, etc.): the doubt concerns our understanding of our beliefs, not our justification for them; the doubt is a posteriori and inductive, not a priori. Post-Socratic philosophy confirms this scepticism: contra-Descartes, our ideas are not transparent to us; contra-Verificationism, no criterion distinguishes sense from nonsense. (...) The import of this scepticism for professional ethicists is examined. (shrink)

The first part of this paper will provide a reconstruction of Francis Bacon’s interpretation of Academic scepticism, Pyrrhonism, and Dogmatism, and its sources throughout his large corpus. It shall also analyze Bacon’s approach against the background of his intellectual milieu, looking particularly at Renaissance readings of scepticism as developed by Guillaume Salluste du Bartas, Pierre de la Primaudaye, Fulke Greville, and John Davies. It shall show that although Bacon made more references to Academic than to Pyrrhonian Scepticism, (...) like most of his contemporaries, he often misrepresented and mixed the doctrinal components of both currents. The second part of the paper shall offer a complete chronological survey of Bacon’s assessment of scepticism throughout his writings. Following the lead of previous studies by other scholars, I shall support the view that, while he approved of the state of doubt and the suspension of judgment as a provisional necessary stage in the pursuit of knowledge, he rejected the notion of acatalepsia. To this received reading, I shall add the suggestion that Bacon’s criticism of acatalepsia ultimately depends on his view of the historical conditions that surround human nature. I deal with this last point in the third part of the paper, where I shall argue that Bacon’s evaluation of scepticism relied on his adoption of a Protestant and Augustinian view of human nature that informed his overall interpretation of the history of humanity and nature, including the sceptical schools. (shrink)

Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively (...) grasp abstract rules fixed independently of human responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein’s rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that’s often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what’s involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it’s within a socio-linguistic community, and that community’s practices, that such aesthetic sense can be made intelligible. (shrink)

Abstract: Scepticism has only two moves to make and each is indefensible.

ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and (...) argues for an alternative view, according to which aesthetic discourse expresses affective states of mind, analogously to how assertions express beliefs. It is because these affective states require first-hand experience that aesthetic discourse communicates that such acquaintance is at hand. The paper furthermore argues that the lack of an experience requirement for aesthetic belief ascriptions constitutes a problem for the kind of expressivist who claims that evaluative belief states are covert non-cognitive states. (shrink)

Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. (...) We show that there are, in fact, good motivations for keeping PPTs and aesthetic predicates apart: the semantic structure of the former, but not the latter, entails an experiencer. There are many adjectives whose semantic structure arguably also entails an experiencer, yet which are readily used in expressing aesthetic judgments. Adjectives such as provocative or moving are a case in point, since as adjectives they arguably maintain the experiencer argument from the verb they are derived from. Nevertheless, when we describe, say, a sculpture as provocative, or a theater performance as moving, we clearly make aesthetic judgments. The difficult question, then, is to articulate the relationship between an aesthetic predicate (of which beautiful and ugly are paradigms) and other predicates that just happen to be used in making an aesthetic judgment. Tightly related to this point is the more general question of the relationship between an evaluative predicate and a predicate that occurs in an evaluative judgment. One of our aims is to make some progress in addressing these questions. (shrink)

Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us (...) more often. (shrink)

Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on (...) class='Hi'>aesthetic testimony seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)

An aesthetic object should be understood and analyzed by the subject in accordance with its object characteristics, except that it is the subject of the subject. In this sense, the aesthetic object, rather than just an object, has all the cognitive characteristics of its artist. The aesthetic subject faces these cognitive characteristics. The perception-perception structure of the subject and the reciprocity relation with the object are examined in this thesis study in order to perceive the aesthetic (...) object correctly and to judge about it. This study is also a study of what the subject can perceive in terms of their perception and interpretation abilities. Additionally, such an approach will enrich the perception-based aesthetic perspectives in the focus of discussions in the philosophy of art. (shrink)

Aesthetic communities offer us opportunities for collective, communal, and value-disclosing shared aesthetic experiences. This paper develops an account of shared aesthetic experiences and provides an answer to the question of their significance: when they occur within aesthetic communities, their distinctive phenomenology is a powerful resource for creating a sense that our lives are aesthetically meaningful.

Kant's response to scepticism in the Critique of Pure Reason is complex and remarkably nuanced, although it is rarely recognized as such. In this paper, I argue that recent attempts to flesh out the details of this response by Paul Guyer and Michael Forster do not go far enough. Although they are right to draw a distinction between Humean and Pyrrhonian scepticism and locate Kant's response to the latter in the Transcendental Dialectic, their accounts fail to capture two (...) important aspects of this response. The first is that Kant's response to Pyrrhonian scepticism is also a response to Hume. The second is that aspects of this response are decidedly positive. In particular, I argue (1) that Kant believed Hume's scepticism manifested important elements of Pyrrhonian scepticism and (2) that both Pyrrhonian scepticism and Hume had a significant positive influence on the development of the Transcendental Dialectic. (shrink)

One influential tradition holds that blame is a moral attitude: blame is appropriate only when the target of blame has violated a moral norm without excuse or justification. Against this, some have recently argued that agents can be blameworthy for their violation of epistemic norms even when no moral norms are thereby violated. This paper defends the appropriateness of aesthetic blame: agents can be blameworthy for their violation of aesthetic norms as such, where aesthetic norms are the (...) norms of social practices that aim at aesthetic values. I adapt a generic account of blame as protest, which can take variable forms, and then argue that aesthetic distortion cases—cases in which an existing artwork is distorted in its presentation—most clearly warrant blame even in the absence of violations of moral norms. (shrink)

Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.

Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.

Interpreters of Hume on causation consider that an advantage of the ‘quasi-realist’ reading is that it does not commit him to scepticism or to an error theory about causal reasoning. It is unique to quasi-realism that it maintains this positive epistemic result together with a rejection of metaphysical realism about causation: the quasi-realist supplies an appropriate semantic theory in order to justify the practice of talking ‘as if’ there were causal powers in the world. In this paper, I problematise (...) the quasi-realist reading of Hume on causation by showing how quasi-realism does not speak to inductive scepticism. I also offer evidence that Hume takes inductive scepticism to result from his theory of causation, and that his scepticism is tied to his rejection of metaphysical causal realism. (shrink)

Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from non-cognitivism in metaethics. One argument that is used to support metaethical non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting non-cognitivism. A tempting option, then, for (...) those wishing to defend aesthetic non-cognitivism, would be to appeal to a similar argument. However, both Caj Strandberg and Walter Sinnott-Armstong have argued that Internalism is a less plausible claim to make about aesthetic judgements than about moral judgements by raising objections against aesthetic internalism. In this paper, I will argue that both of these objections can be raised against internalism about moral judgements as well. As a result, internalism is no less plausible a claim to make about aesthetic judgements than about moral judgements. I will then show how a theory of internalism about normative judgements in general is capable of avoiding both of these objections. (shrink)

Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative (...) thought. Historicism about artworks carries over to at least some aesthetic properties that depend on facts of their broader historical context just as works do. One issue is whether aesthetic properties can be demarcated solely in terms of non-aesthetic properties. If not, explanations of aesthetic properties need to draw on other aesthetic notions such as aesthetic experience, attention, judgement or value. The paper examines several accounts of aesthetic value to show how they extend to aesthetic properties. The paper concludes with an overview of the current metaphysical debate between realists and non-realists about aesthetic properties. (shrink)

Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp (...) on the nature of aesthetic normativity; this is because, in making aesthetic commitments, we are capable of giving aesthetic concerns the weight of obligation. I argue that appealing to aesthetic commitments allows us to account for the existence of aesthetic obligations as well as their grounding. I conclude by arguing that, although the aesthetic domain is a domain of play and freedom of choice, there is nevertheless an important place in it for both aesthetic commitments and the aesthetic obligations they generate. (shrink)

The paper starts by describing and clarifying what Williamson calls the consequence fallacy. I show two ways in which one might commit the fallacy. The first, which is rather trivial, involves overlooking background information; the second way, which is the more philosophically interesting, involves overlooking prior probabilities. In the following section, I describe a powerful form of sceptical argument, which is the main topic of the paper, elaborating on previous work by Huemer. The argument attempts to show the impossibility of (...) defeasible justification, justification based on evidence which does not entail the (allegedly) justified proposition or belief. I then discuss the relation between the consequence fallacy, or some similar enough reasoning, and that form of argument. I argue that one can resist that form of sceptical argument if one gives up the idea that a belief cannot be justified unless it is supported by the totality of the evidence available to the subject—a principle entailed by many prominent epistemological views, most clearly by epistemological evidentialism. The justification, in the relevant cases, should instead derive solely from the prior probability of the proposition. A justification of this sort, that does not rely on evidence, would amount to a form of entitlement, in (something like) Crispin Wright’s sense. I conclude with some discussion of how to understand prior probabilities, and how to develop the notion of entitlement in an externalist epistemological framework. (shrink)

I explore the interrelations between the ontological and aesthetic issues raised by ready-mades such as Duchamp’s Fountain. I outline a hylomorphic metaphysics which has two central features. First, hylomorphically complex objects have matter to which they are not identical. Secondly, when such objects are artefacts (including artworks), it is essential to them that they are the products of creative work on their matter. Against this background, I suggest that ready-mades are of aesthetic interest because they pose a dilemma. (...) Is there really an object, a sculpture, that is distinct from its matter, a urinal, which object is created merely by the artist’s choice of the urinal? Or are we dealing with a case in which an artist passes off something, a urinal, as if it were a sculpture, even though it is not one? (shrink)

An overview of the import of disjunctivism to the problem of radical scepticism is offered. In particular, the disjunctivist account of perceptual experience is set out, along with the manner in which it intersects with related positions such as naïve realism and intentionalism, and it is shown how this account can be used to a motivate an anti-sceptical proposal. In addition, a variety of disjunctivism known as epistemological disjunctivism is described, and it is explained how this proposal offers a (...) further way of responding to radical scepticism. (shrink)

This essay argues that the exploration of scepticism and its implications in the work of Stanley Cavell and David Hume bears more similarities than is commonly acknowledged, especially along the lines of what I wish to call “sceptical naturalism.” These lines of similarity are described through the way each philosopher relates the “natural” and “nature” to the universal, the necessary, and the conventional.