What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning (...) the nature of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The ‘everything change’, as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the ‘scientific’ approaches to nature appreciation which base aesthetic judgment on scientific knowledge and (...) the competing ‘non-scientific’ approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

We enjoy sounds. What about silence: the absence of sound? Certainly not all, but surely many of us seek out, attend to, and appreciate silence. But, if nothing is there, then there is nothing to possess aesthetic qualities that might engage aesthetic interest or reward aesthetic attention. This is at least puzzling, perhaps even paradoxical. In this paper, I attempt to dispel the sense of paradox and provide a way to understand aesthetic appreciation of silence. I argue that silence (...) can have an aesthetic character and can sustain the kinds of rich experiences apt for aesthetic assessment and appraisal. (shrink)

Instances of epistemic injustice elicit resistance, anger, despair, frustration or cognate emotional responses from their victims. This sort of response to the epistemic injustices that accompanied historical systems of oppression such as colonialism, for example, is normal. However, if their victims have internalised these oppressive situations, we could get the counterintuitive response of appreciation. In this paper, I argue for the phenomenon of appreciative silencing to make sense of instances like this. This is a form of epistemic silencing that (...) happens when the accepted hegemonic intuitions of the oppressed are formed/influenced by the ideologies of the oppressors over time. Here, we have a resilient, oppressive and hegemonic epistemic system. Put together, it creates a variant of epistemic injustice and silencing that is obscure since its victims are neither resistant nor aware of the injustice they face but are appreciative. (shrink)

Moral experience comes in many flavors. Some philosophers have argued that there is nothing common to the many forms moral experience can take. In this paper, I argue that close attention to the phenomenology of certain key emotions, combined with a clear distinction between essentially and accidentally moral experiences, suggests that there is a group of (essentially) moral emotions which in fact exhibit significant unity.

Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always (...) beautiful (that is, positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made ‘internal’ to the theory of appropriate aesthetic appreciation, in the sense that this theory determines the correct scientific categories for appreciating a natural object, in part, in virtue of a ‘beauty-making’ criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view. (shrink)

Dance can be appreciated from all sorts of perspectives: For instance, by the dancer while dancing, by the choreographer while watching in the wings, by the musician in the orchestra pit who accompanies the dance, or by the loved-one of a dancer who watches while hoping that the dancer performs well and avoids injury. This essay will consider what it takes to appreciate dance from the perspective of a seated, non-moving audience member. A dance appreciator in this position is typically (...) someone who can hear and see, who can feel vibrations of sound through their skin, and who can have other human, kinaesthetic responses and perceptions as well as the cognitive ability to process them. This appreciator is also someone who is a person with a history that may or may not include experiences of dance that have conditioned his or her responses to watching dance. Based on both this experience, and the skill and capacity to focus, pay attention, make judgments, and convey those judgments, there are different types and levels of audience appreciation. This essay will consider three: 1. Innocent Eye Appreciation, 2. Dance-Trained Appreciation, and 3. Critical Appreciation. (shrink)

Internal coherence is of great importance for how we think about appreciating objects of aesthetic worth. A disagreement between what we judge to be worthy and what we affectively favor can prevent us from properly grasping its value. However, it is also assumed in the aesthetic domain that our taste changes over time, jeopardising such coherence constraint. These changes can lead to a mismatch between new aesthetic judgments and old aesthetic preferences. This chapter explores a number of issues that emerge (...) from this tension. Using Taylor Swift’s re-recording as a case study, I will explore the relation between fan loyalty and personal authenticity, as well as the role of biographical taste in the reception of these newly recorded albums among Swift’s long-time fanbase. (shrink)

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense (...) has quite a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story. (shrink)

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy (...) between how attention is guided in appreciation and how practical action is guided in ‘striving play’—a mode of game play recently foregrounded in the philosophy of games. On the resulting account, appreciation involves an ‘inverted’ motivational structure: the appreciating agent's attention is guided by cognitive goals taken up instrumentally, for the sake of the cognitive activity that results from attending under the guidance of those goals. (shrink)

A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the (...) cover. We argue that it can nevertheless be just as legitimate to consider a cover version on its own as it is to consider it in relation to the earlier recording that it is covering. In some cases, these two modes of appreciation will offer distinct rewards. In other cases, one mode will be substantially more rewarding than the other. The details matter, especially in complicated cases like covers of covers, but neither mode is privileged in principle. (shrink)

One popular theodicy says that good can’t exist without evil, and so God must allow evil in order to allow good. Call this the counterpart theodicy. The counterpart theodicy relies on a metaphysical claim about existence—good cannot exist without evil. A second popular theodicy says that we would be unable to know/recognize/appreciate the good without evil, and so God is forced to allow evil in order to allow for such appreciation. Call this the appreciation theodicy. The appreciation (...) theodicy relies on an epistemological claim about recognition or appreciation—we are unable to know/recognize/appreciate good without evil (even if it is possible for good to exist without evil). Determining whether either of these theodicies is a success requires a careful discussion of whether either meets the conditions on a successful theodicy. I argue that both fail. (shrink)

Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and (...) the attribution of art-relevant properties or characterisations to works of art, very often involves the notion of trust; in such cases—perhaps most or even, implicitly, all—the question ‘Do I trust the artist (or art-maker)?’, is inescapable. (shrink)

I provide a transcription of an inscription written by Josiah Royce in a copy of his The Spirit of Modern Philosophy which pertains to William James’ opinion of that book and of Royce’s work in general, followed by some brief remarks thereon.

Literary cognitivists claim that works of literature can have a significant cognitive value and can be effective in providing readers with opportunities for learning. Anti-cognitivists challenge cognitivists by questioning how literature can offer arguments or evidence for readers’ adoption of new knowledge or understanding. As a mode of side-stepping these objections, cognitivists have recently tended to make their claims more modest and claim only that literature clarifies knowledge readers already possess or provides the opportunity for the development of certain general (...) cognitive skills. In this chapter, I put forward a more bold account of literature’s cognitive value. I argue that a reader’s engagement with a literary work can lead to reconfiguration of their understanding of the subject matter with which the work deals. This bolder defence of literature’s cognitive value, and the account I offer of how readers can access such cognitive value, indicate how literature can form a significant part of character education. (shrink)

Many interpretations of Kant’s first Critique fail to appreciate the revolutionary nature of his account of knowledge and its implications for skepticism, givenness and mind-independence, because they read Kant as holding a compositional account of knowledge. I contend that the reason for this is that this account is both naturally appealing in its own right, and fits an influential reading of Kant’s Transcendental Deduction. On this reading, the Deduction aims to respond to a skeptical worry which issues from the empiricist (...) version of epistemic compositionalism and which questions the intelligibility of the claim to knowledge of our judgements. Against this, I argue that what Kant’s Deduction actually aims to address is a radicalization of this epistemic worry, which instead questions the intelligibility of the objective purport of our judgements. I contend that the compositional account is unable to respond to this more radical worry, thereby putting it into question both as a reading of Kant, and as an account of knowledge generally. To corroborate this, I provide a reading of the Deduction that overcomes epistemic compositionalism by thinking through its shortcomings in order to arrive at a more adequate successor account: the hylomorphic account of knowledge, which, I contend, is able to dissolve both the more radical and the epistemic worry. I suggest that this implies generally that the epistemic worry issuing from the compositional account is not self-contained, but must give way to Kant’s more radical worry, which I argue can only be addressed within the underappreciated framework of epistemic hylomorphism. (shrink)

Huckleberry Finn believes that by helping Miss Watson’s slave Jim escape to freedom, he is doing something wrong. But Huck does it anyway—and many want to give him moral credit for this choice. If Huck is to be worthy of such moral esteem, however, it seems there must be some implicit way of appreciating and responding to considerations as moral reasons that does not involve explicitly believing that those considerations are moral reasons. This chapter argues that an agent like Huck (...) can implicitly appreciate a consideration as a moral reason to φ by presenting it under the light of a particular phenomenologically-mediated mode of presentation: one that presents that consideration via the light of a felt directive force “pointing” towards φ-ing—lending weight to it, or soliciting it—in a particular authoritative way. Thus, I suggest, Huck may be understood on analogy with a young jazz piano virtuoso. As she may appreciate that the G-seventh chord having been played just so constitutes an aesthetic reason for her to ease into the C-major-seventh chord just so by virtue of experiencing the former as pointing or directing her to the latter, so also, I propose, Huck may appreciate the considerations speaking in favor of helping Jim as moral reasons to help Jim by virtue of experiencing them as pointing or directing him to help Jim. The chapter also examines and rejects four alternative proposals for how to account for implicit reasons-appreciation: first, a de re account of appreciation and then three additional accounts of appreciation derived from major theories of mental representation (inferentialist, causal tracking, and functionalist theories). (shrink)

The paper investigates the role played by pre-scientific experience in the philosophy of Josiah Royce and Edmund Husserl. Such a notion, generally associated with Husserl’s conception of the life-world (Lebenswelt) in the Crisis of European Sciences and Transcendental Phenomenology (1936), finds an equivalent and historical antecedent in Royce’s distinction between a world of description and a world of appreciation. The final goal is to show how, despite their different philosophical frameworks, Royce and Husserl agree on the idea that, through (...) the rejection of the world given through mere perception (Lebenswelt/world of appreciation), European sciences have somehow failed their task of universality. As it will be shown, this idea is also due to methodological affinities among the two thinkers. The experience of interconnectedness among individual minds, while precluded in the mere scientific explanation of the world, it becomes possible through the enactment of the Lebenswelt or, as in Royce’s case, through a return to the experience of the world of appreciation. (shrink)

Jenefer Robinson believes that feelings can play an important role in the critical evaluation of artworks. In this paper, I want to put some pressure on two important notions in her theory: emotional understanding and affective empathy. I will do this by focusing on the nature of self-conscious emotions. My strategy will be, firstly, to demonstrate the difficulty that Robinson’s two step theory of emotions has in accommodating higher cognitive emotional responses to art. Secondly, I will discuss how the tight (...) connection to the ‘self’ involved in self-conscious emotions makes it difficult to take the emotional perspective of another person as empathy requires. From here, I suggest that Peter Goldie’s feeling-towards and his critique of perspective-shifting may give a better understanding of the role of emotions in the appreciation of art, particularly in the case of reflective emotions. This issue will be explored through a discussion of the expression of autobiographical nostalgia in the work of the avant-garde filmmaker Jonas Mekas. (shrink)

We demonstrate that many philosophers accept the following claim: When an aesthetic object is apprehended correctly, taking pleasure in said object is a reliable sign that the object is aesthetically successful. We undermine this position by showing that what grounds our pleasurable experience is opaque: In many cases, the experienced pleasure is attributable to factors that have little to do with the aesthetic object. The evidence appealed to is a form of Higher-Order Evidence (HOE) and we consider attempts to overcome (...) said evidence. We argue they are unsuccessful. We conclude by considering what this means for our practice of making aesthetic judgements. (shrink)

Anil Gupta’s Conscious Experience: A Logical Inquiry provides an impressive and novel account of rational justification based on conscious experience which is used as a foundation for a new theory of empiricism. In this critical notice, I argue that Gupta’s project is fascinating, but is often hampered by a lack of sufficient philosophical justification and clarity regarding some essential features of his project, as well as a lack of engagement with relevant scientific domains that would directly bear on it, such (...) as computational neuroscience, cognitive neuroscience, and cognitive psychology. This limits the sort of logical inquiry available to him in problematic ways. (shrink)

Even before he assumed the Petrine office as head of the Catholic Church, Joseph Ratzinger already carries the reputation of being one of the most important figures, not only of the Catholic intellectual tradition, but more so of the theological enterprise of the twentieth century. A closer appreciation of his thought which delves into the relevant discussions of the time, such as those that tackle pluralism and relativism, further reveals that more than a theologian, Ratzinger is a ‘thinker’ capable (...) of dialoguing with intellectuals of any background. This noncompromising openness to the ideas that challenge his own gives credence to the range and depth of the beliefs that he holds and proclaims to the world. This paper presents Ratzinger’s insights that elicit a philosophical analysis based on the themes that concern the relevance of belief – the Christian faith – to the theoretical and practical movements of the contemporary period. (shrink)

Psychopaths are the bugbears of moral philosophy. They are often used as examples of perfectly rational people who are nonetheless willing to do great moral wrong without regret; hence the disorder has received the epithet “moral insanity” (Pritchard 1835). But whereas philosophers have had a great deal to say about psychopaths’ glaring and often horrifying lack of moral conscience, their aesthetic capacities have received hardly any attention, and are generally assumed to be intact or even enhanced. Popular culture often portrays (...) psychopaths in ways that suggest a great gap between their amorality and their aesthetic sensitivity. In The Silence of the Lambs (Jonathan Demme, 1991), Hannibal Lecter appreciates fine art, fashion, and wine, while he eats his way through his enemies. His real-life counterparts, however, do not demonstrate the same sensitivities. There is no evidence that psychopaths are capable of real aesthetic appreciation, and some evidence that they are not. In this paper, we set out the limited evidence for the psychopath’s deficient aesthetic sensitivity. The best explanations of what the psychopath lacks turn out to implicate abilities that are also thought to be central to moral thought and action: an impaired capacity for empathizing with others and deficient ability to take a disinterested attitude towards things (socalled distance). We endorse the latter explanation. Thinking about what underlies the psychopath’s deficient aesthetic understanding turns out to throw light on a difficult problem: the connection between ethics and aesthetics. (shrink)

A long debate in aesthetics concerns the reasoned nature of criticism. The main questions in the debate are whether criticism is based on (normative) reasons, whether critics communicate reasons for their audience’s responses, and if so, how to understand these critical reasons. I argue that a great obstacle to making any progress in this debate is the deeply engrained assumption, shared by all sides of the debate, that reasons can only be either theoretical reasons (i.e., those that explain what to (...) believe or what propositions are true) or practical reasons (i.e., those that explain what is to be done or what actions are good/required/called for/otherwise worthy of doing). My aims are (1) to put pressure on this assumption that, if there are critical reasons, they must be either theoretical or practical (the EITHER/OR assumption), and (2) to suggest that, if there are critical reasons, the most central among them are neither theoretical nor practical (NEITHER/NOR). (shrink)

"Romanticism, when attains a fullness of complexity..there occurs of the supernatural unique". http://philpapers.org/profile/112741.

Karen Stohr’s book On Manners argues persuasively that rules of etiquette, though conventional, play an essential moral role, because they “serve as vehicles through which we express important moral values like respect and consideration for the needs, ideas, and opinions of others”. Stohr frequently invokes Kantian concepts and principles in order to make her point. In Part 2 of this essay, I shall argue that the significance of etiquette is better understood using a virtue ethics framework, like that of Confucianism, (...) rather than the language of Kantianism. Within the Chinese tradition, Daoists have frequently been critics of Confucian ritualism. Consequently, in Part 3, I shall consider some possible Daoist critiques of Stohr’s work. (shrink)

This essay contends that the constitutive elements of well-being are plural, partly objective, and separable. The essay argues that these elements are pleasure, friendship, significant achievement, important knowledge, and autonomy, but not either the appreciation of beauty or the living of a morally good life. The essay goes on to attack the view that elements of well-being must be combined in order for well-being to be enhanced. The final section argues against the view that, because anything important to say (...) about well-being could be reduced to assertions about these separable elements, the concept of well-being or personal good is ultimately unimportant. (shrink)

According to robust virtue epistemology , knowledge is type-identical with a particular species of cognitive achievement. The identification itself is subject to some criticism on the grounds that it fails to account for the anti-luck features of knowledge. Although critics have largely focused on environmental luck, the fundamental philosophical problem facing RVE is that it is not clear why it should be a distinctive feature of cognitive abilities that they ordinarily produce beliefs in a way that is safe. We propose (...) a novel way to resolve this problem. Key to our proposal will be an appreciation of different representational states beholden to truth. We suggest these different representational states are distinguished by how, in the proper governance of these states, the twin goods of attaining truth and avoiding error are weighted. Moreover, we explain how varieties of representational states line up with varieties of cognitive achievement such that knowledge, cum cognitive achievement, must be safe because of the kind of attempt at success that belief is—namely, an attempt that places the premium it does on avoiding error. (shrink)

Michael Sandel's opposition to the project of human enhancement is based on an argument that centres on the notion of giftedness. Sandel claims that by trying to ?make better people? we fall prey to, and encourage, an attitude of mastery and thus lose, or diminish, our appreciation of the giftedness of life. Sandel's position and the underlying argument have been much criticised. In this paper I will try to make sense of Sandel's reasoning and give an account of giftedness (...) that defends its relevance for the ethical assessment of the human enhancement project. In order to do so, I will also look at virtue-related notions, such as gratitude and humility, and distinguish the gifted from the merely given. The failure to acknowledge this distinction gives rise to one of the most common objections to Sandel's argument. Other objections will be shown to rest on similar misunderstandings. (shrink)

This paper takes a cognitive perspective to assess the significance of some Late Palaeolithic artefacts (sculptures and engraved objects) for philosophicalconcepts of art. We examine cognitive capacities that are necessary to produceand recognize objects that are denoted as art. These include the ability toattribute and infer design (design stance), the ability to distinguish between themateriality of an object and its meaning (symbol-mindedness), and an aesthetic sensitivity to some perceptual stimuli. We investigate to what extent thesecognitive processes played a role in (...) the production and appreciation of somerecently discovered Palaeolithic artefacts. (shrink)

In this essay, I argue that a proper understanding of the historicity of love requires an appreciation of the irreplaceability of the beloved. I do this through a consideration of ideas that were first put forward by Robert Kraut in “Love De Re” (1986). I also evaluate Amelie Rorty's criticisms of Kraut's thesis in “The Historicity of Psychological Attitudes: Love is Not Love Which Alters Not When It Alteration Finds” (1986). I argue that Rorty fundamentally misunderstands Kraut's Kripkean analogy, (...) and I go on to criticize her claim that concern over the proper object of love should be best understood as a concern over constancy. This leads me to an elaboration of the distinct senses in which love can be seen as historical. I end with a further defense of the irreplaceability of the beloved and a discussion of the relevance of recent debates over the importance of personal identity for an adequate account of the historical dimension of love. (shrink)

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...) I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

Although the index is one of the best known features of Peirce's theory of signs there is little appreciation of Peirce's theory of the index amongst contemporary philosophers of language. Amongst Peirce scholars, the value placed on Peirce's account is greater, but is largely based on Thomas Goudge's paper, "Peirce's Index" (Goudge, 1965). Despite marking a crucial milestone in our comprehension of Peirce's theory, our understanding of indices and indexical reference has grown markedly over the last forty years. Time (...) has now come, then, to develop the work that Goudge began and to provide a full analysis of Peirce's account that makes its value to the philosophy of language clear. I undertake this enterprise here. (shrink)

This paper aims to cast doubt upon a certain way of analysing prudential value (or good for ), namely in the manner of a ‘buck-passing’ analysis. It begins by explaining why we should be interested in analyses of good for and the nature of buck-passing analyses generally (§I). It moves on to considering and rejecting two sets of buck-passing analyses. The first are analyses that are likely to be suggested by those attracted to the idea of analysing good for in (...) a buck-passing fashion (§II). The second are the buck-passing analyses of good for proposed by John Skorupski (§III), Henry Sidgwick (§IV), and Stephen Darwall (§V). Along the way the paper shows that Michael Smith’s and Peter Railton’s analyses of other concepts—analyses that could be (and have been) taken to be analyses of good for —are similarly unsuitable as analyses of it. The paper concludes by suggesting that the fact that none of the buck-passing accounts of good for considered here is satisfactory, coupled with an appreciation of the various problems that a buck-passing analysis of good for would have to avoid, suggests that we should be sceptical about the prospects of finding such an analysis and should look for one of a different type. (shrink)

Language theorists have recently come to have an increasing appreciation for the fact that context contributes heavily in determining our interpretation of what is said. Indeed, it now seems clear that no complete understanding of a natural language is possible without some account of the way in which context affects our interpretation of discourse. In this paper, I will attempt to explore one facet of the language – context relationship, namely, the relation between conditionals and context. The first part (...) of the paper develops an account of truth for conditionals which allows them to depend on momentary features of the context in which they are uttered. In the second half of the paper, comparisons with other recent theories of the conditional will be considered. Particular attention will be given to the problem of whether the conditional really violates classical inferences such as Hypothetical Syllogism and Contraposition as has often been claimed in recent years. (shrink)

It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular (...) element of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered apart from them. (...) Thus aesthetic appreciation, for example, has creative, objective, and performative aspects. This situation of four factors, together with social, cultural, technological, and historical influences on them, is called the aesthetic field. Although the factors are theoretically distinguishable, they are experienced as a unity. It is important, therefore, not to confound the theoretical explanation of aesthetic experience with the experience, itself. The aesthetic field has important implications for understanding the various individual arts, new developments in the arts, and the critical appraisal of the arts. Moreover, the concept transforms traditional issues in aesthetics. (shrink)

The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a number of salient (...) aspects of our experience of musical performances, from the importance of instrumentality, to the multimodal character of this experience. (shrink)

Although Cottingham and Holland make a persuasive case for the claim that it is difficult to situate a meaningful life within a Darwinian naturalistic cosmology, this paper argues that their case should be modified in response to the apparent fact that certain persons seem genuinely not to experience the ‘bleakness’ that they describe. Although certain of these cases will reflect an incomplete appreciation of the existential implications of Darwinian naturalism, at least some of those cases may be genuine. The (...) resulting possibility that certain persons can embrace Darwinian naturalism and live meaningful lives in apparent immunity to the ‘bleakness charge’ therefore poses new puzzles for Cottingham and Holland, and for wider questions about the meaningfulness of human life. I consider that possibility in light of the work of David E. Cooper and Paul Feyerabend and offer a set of three suggestions for further developing these debates. (shrink)

John O’Neill, Alan Holland, and Andrew Light usefully distinguish two ways of thinking about environmental values, namely, end-state and historical views. To value nature in an end-state way is to value it because it instantiates certain properties, such as complexity or diversity. In contrast, a historical view says that nature’s value is (partly) determined by its particular history. Three contemporary defenses of a historical view are explored in order to clarify: (1) the normatively relevant history; (2) how historical considerations are (...) supposed to instruct environmental decision making; and (3) the relative importance of historical and end-state considerations. There are multiple reasons for including historical considerations in an account of environmental values. For example, knowledge of a natural object’s history can add depth and texture to our appreciation of that object. Further, if we were blind to the relevant history, we could not adequately understand and defend environmental policy goals such as preserving the potentials of natural systems or maintaining ecological health, for these goals appear to have irreducibly historical aspects. While historical considerations are important, such considerations are insufficient to guide our normative thinking about nature and how it should be dealt with practically. But they succeed in broadening and deepening our understanding of the nature and sources of environmental value. (shrink)

Research in ecology and evolutionary biology (evo-eco) often tries to emulate the “hard” sciences such as physics and chemistry, but to many of its practitioners feels more like the “soft” sciences of psychology and sociology. I argue that this schizophrenic attitude is the result of lack of appreciation of the full consequences of the peculiarity of the evo-eco sciences as lying in between a-historical disciplines such as physics and completely historical ones as like paleontology. Furthermore, evo-eco researchers have gotten (...) stuck on mathematically appealing but philosophi- cally simplistic concepts such as null hypotheses and p-values defined according to the frequentist approach in statistics, with the consequence of having been unable to fully embrace the complexity and subtlety of the problems with which ecologists and evolutionary biologists deal with. I review and discuss some literature in ecology, philosophy of science and psychology to show that a more critical methodological attitude can be liberating for the evo-eco scientist and can lead to a more fecund and enjoyable practice of ecology and evolutionary biology. With this aim, I briefly cover concepts such as the method of multiple hypotheses, Bayesian analysis, and strong inference. (shrink)

This paper reconstructs an Indian Buddhist response to the overdemandingness objection, the claim that a moral theory asks too much of its adherents. In the first section, I explain the objection and argue that some Mahāyāna Buddhists, including Śāntideva, face it. In the second section, I survey some possible ways of responding to the objection as a way of situating the Buddhist response alongside contemporary work. In the final section, I draw upon writing by Vasubandhu and Śāntideva in reconstructing a (...) Mahāyāna response to the objection. An essential component of this response is the psychological transformation that the bodhisattva achieves as a result of realizing the nonexistence of the self. This allows him to radically identify his well-being with the well-being of others, thereby lessening the tension between self and others upon which the overdemandingness objection usually depends. Emphasizing the attention Mahāyāna authors pay to lessening moral demandingness in this way increases our appreciation of the philosophical sophistication of their moral thought and highlights an important strategy for responding to the overdemandingness objection that has been underdeveloped in contemporary work. (shrink)

In this paper I present an overview of the doctrine known as Positive Aesthetics regarding aesthetic judgements about nature. According to this view, all pristine nature is always beautiful and, generally, although not necessarily, human intervention tends to introduce ugliness in nature. One of the strong practical motivations behind this claim is an attempt to ground our reasons to preserve natural environments in aesthetic reasons. Positive Aesthetics has been defended within contrary approaches to nature appreciation such as the cognitivists (...) and the anti-cognitivist. Recently, the possibility of real ugliness in nature has been defended; at the same time, it is argued that the presence of ugly items in nature does not lead necessarily to the idea that they are not aesthetically valuable. Hence, natural ugliness can be a reason to preserve nature. In this sense, the denial of the Positive Aesthetics claim is shown to be compatible with the appeal to aesthetic negative qualities as a source of reasons for preserving natural environments. (shrink)

This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the (...) idea that love-worthy qualities could be coarse-grained, when in fact they must be fine-grained. The analogy with appreciation of aesthetic qualities helps to draw out this point. Once the fine-grained nature of love-worthy qualities is properly understood, it is clear that critics of the QV cannot rely on the trading-up objection to motivate its rejection. Moreover, the paper’s core argument helps to illuminate the persistently aesthetic nature of interpersonal affections. (shrink)

The cognitive neurosciences are based on the idea that the level of neurons or neural networks constitutes a privileged level of analysis for the explanation of mental phenomena. This paper brings to mind several arguments to the effect that this presumption is ill-conceived and unwarranted in light of what is currently understood about the physical principles underlying mental achievements. It then scrutinizes the question why such conceptions are nevertheless currently prevailing in many areas of psychology. The paper argues that corresponding (...) conceptions are rooted in four different aspects of our common-sense conception of mental phenomena and their explanation, which are illegitimately transferred to scientific enquiry. These four aspects pertain to the notion of explanation, to conceptions about which mental phenomena are singled out for enquiry, to an inductivist epistemology, and, in the wake of behavioristic conceptions, to a bias favoring investigations of input–output relations at the expense of enquiries into internal principles. To the extent that the cognitive neurosciences methodologically adhere to these tacit assumptions, they are prone to turn into a largely a-theoretical and data - driven endeavor while at the same time enhancing the prospects for receiving widespread public appreciation of their empirical findings. (shrink)

Empirical research in the psychology of nature appreciation suggests that humans across cultures tend to evaluate nature in positive aesthetic terms, including a sense of beauty and awe. They also frequently engage in joint attention with other persons, whereby they are jointly aware of sharing attention to the same event or object. This paper examines how, from a natural theological perspective, delight in natural beauty can be conceptualized as a way of joining attention to creation. Drawing on an analogy (...) between art and creation, we propose that aesthetic appreciation of nature may provide theists with a unique phenomenological insight into God's creative intentions, which are embodied in the physical beauty of creation. We suggest two directions in which this way of looking at the natural world can be fleshed out: in a spontaneous way, that does not take into account background information, and with the help of science. (shrink)