For the most part, the Aesthetic Theory of Art—any theory of art claiming that the aesthetic is a descriptively necessary feature of art—has been repudiated, especially in light of what are now considered traditional counterexamples. We argue that the Aesthetic Theory of Art can instead be far more plausibly recast by abandoning aesthetic-feature possession by the artwork for a claim about aesthetic-concept possession by the artist. This move productively re-frames and re-energizes the debate surrounding the relationship between art and the (...) aesthetic. That is, we claim Aesthetic Theory so re-framed suggests that the aesthetic might have a central and substantial explanatory role to play within both traditional philosophical enquiries as well as recent and more empirical enquiries into the psychological and cognitive aspects of art and its practice. Finally, we discuss the directions this new work might take—by tying art theory to investigations of the distinctive sensorimotor capacities of expert artists, their specialized aesthetic conceptual schemata, and the ways these distinctive capacities and schemata contribute to the production of artworks. (shrink)

The diverse and breathtaking intelligence of the human animal is often embodied in skills. People, throughout their lifetimes, acquire and refine a vast number of skills. And there seems to be no upper limit to the creativity and beauty expressed by them. Think, for instance, of Olympic gymnastics: the amount of strength, flexibility, and control required to perform even a simple beam routine amazes, startles, and delights. In addition to the sheer beauty of skill, performances at the pinnacle of (...) class='Hi'>expertise often display a kind of brilliance or genius. We observe an intelligence that saturates the body. The unity of physicality and intellect, mind and body, meshed and melded. Apart from sports, people develop a host of other skills, including musical and artistic skills, linguistic and social skills, scientific and medical skills, military and political skills, engineering skills, computer skills, business skills, etc. What's more, skill acquisition and refinement occurs throughout the human lifespan. In the Introduction to the Routledge Handbook of Skill and Expertise, we introduce and contextualize the various chapters that compose the Handbook. Before providing substantive overviews of each chapter, we also discuss the topic of skill in general and its importance for various areas of philosophy. Chapters are organized into six sections: 1. Skill in the history of philosophy (East & West), 2. Skill in Epistemology, 3. Skill, Intelligence, and Agency, 4. Skill in Perception, Imagination, and Emotion, 5. Skill, Language, and Social Cognition, and 6. Skill and Expertise in Normative Philosophy. (shrink)

There are good, even if inconclusive, reasons to think that cognitive penetration of perception occurs: that cognitive states like belief causally affect, in a relatively direct way, the contents of perceptual experience. The supposed importance of – indeed as it is suggested here, what is definitive of – this possible phenomenon is that it would result in important epistemic and scientific consequences. One interesting and intuitive consequence entirely unremarked in the extant literature concerns the perception of art. Intuition has it (...) that knowledge about art changes how one aesthetically evaluates artworks. A profound explanation of this intuitive fact is that perceptual experiences vary with artistic expertise. Cognitive penetration provides an explanatory mechanism for this latter effect. What one knows or otherwise thinks about art may affect, in one of two ways sketched below, how one perceives art. Differences in aesthetic evaluation may follow, either because high-level aesthetic properties can be perceptually represented or because they causally depend on low-level perceptible properties. All of this lends credence to the hypothesis that the expert better judges art because she better perceives art. And she better perceives art because she better knows art. (shrink)

Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust in another’s aesthetic sincerity when (...) we rely on them to fulfill their commitments to act for aesthetic reasons — rather than for, say, financial, social, or political reasons. We feel most thoroughly betrayed by an artist, not when they make bad art, but when they sell out. This teaches us something about the nature of trust in general. According to many standard theories, trust involves thinking the trusted to be cooperative or good-natured. But trust in aesthetic sincerity is different. We trust artists to be true to their own aesthetic sensibility, which might involve selfishly ignoring their audience’s needs. Why do we care so much about an artist’s sincerity, rather than merely trusting them to make good art? We emphasize sincerity when wish to encourage originality, rather than to demand success along predictable lines. And we ask for sincerity when our goal is to discover a shared sensibility. In moral life, we often try to force convergence through coordinated effort. But in aesthetic life, we often hope for the lovely discovery that our sensibilities were similar all along. And for that we need to ask for sincerity, rather than overt coordination. (shrink)

The need for technical input, particularly set design in the overall theatrical process cannot be overemphasised in the pursuit of an aesthetically pleasing stage performance. This is because set design (flats and platforms) is the first place of contact irrespective of the medium of production. This work, therefore, examines postmodern trends in set designs within the backdrop of emerging set design concepts and interpretations via the use of sophisticated technology (such as light emitting diode screen, green-hippo software, 3D digital model (...) among others), in our contemporary society, using selected productions in Ultima Studios and Zmirage, Lagos. The study employs the descriptive and participantobservation methods while the interview instrument complements the two methods. The two methods enable us to study the trends, dimensions and techniques of set designs in Ultima Studios and Zmirage, Lagos. This study also relies on relevant journals, articles, textbooks and appropriate internet materials. More so, Sunnie Enessi Ododo’s (2002) Representational and Presentational Performance Styles, is adopted as our theoretical framework. Our findings show that set design for the stage or screen production goes beyond physical set design method to include the virtual set design. Postmodern trends in set design such as media mapping projection set design are also recognised. We also discover that, set design is a make-believe world that requires expertise, experience and professionalism in the process of its artistic utilisation within the postmodern age. The work concludes that, technical experts in the theatre should advance with the new trends of set design for both stage and screen production by studying and learning various trends and dimensions of postmodern set design. The study recommends that postmodern set design should not be downplayed in any production either screen or stage in the Nigerian theatre. (shrink)

Simon Høffding’s book A Phenomenology of Musical Absorption (2019) contributes to a growing field of research focusing on the artist’s and performer’s experience, as significant for philosophical understanding of on the one hand expertise and skill-formation, on the other art and artistic practice. Høffding’s work is based on a qualitative study of the world-famous ensemble The Danish String Quartet, and has two purposes according to the author: first, to answer a question that arises when confronted with expert musicians’ (...) descriptions of their experiences: “Who is playing?” While deeply concentrated – absorbed – during rehearsal or performance, musicians have described the feeling of something else taking over: the body, the fingers, the instrument, the music. What kind of self is present in this experience and what kind of consciousness does the musician have of her own performance and of the musical work that is performed? Second, Høffding presents a phenomenological account of the experiences at issue, that is based on thorough empirical work and analysed with tools from phenomenology and cognitive science. While not mainly concerned with philosophical aesthetics, the musical work itself has an important role to play in answering these two questions. In the book, Høffding shows with wonderful clarity the value of listening to and analysing performers’ depiction of their experience, not only in order to provide a theoretical framework that can account for the particular experiences associated with expertise but also to prompt philosophical understanding of artistic/aesthetic experience, art and creativity. There are, however, certain problems with his account. One is the internal conflict between the idea that absorption can be experienced at any level of music making, and the claim that only professional experts can experience absorption in its stronger form, without giving a clear argument for this differentiation. Another is Høffding’s desire to present his work as a “paradigmatic case”, resulting in a certain lack of generosity vis-à-vis precursors and other scholars, and interpretations that are not always backed up by the interview material. In general, there are a number of unclear references and loose ends, that this reader would have wished to be worked out in detail. This being said, Høffding has uncovered a thought-provoking path that I hope will be continued. (shrink)

The weaponizing of scientific expertise to oppose regulation has been extensively studied. However, the relevant studies, belonging to the emerging discipline of agnotology, remain focused on the analysis of empirical corruption: of misinformation, doubt mongering, and other practices that cynically deploy expertise to render audiences ignorant of empirical facts. This paper explores the wrongful deployment of expertise beyond empirical corruption. To do so, I develop a broader framework of morally subversive expertise, building on recent work in (...) political philosophy (Howard, 2016). Expertise is subversive if it sets up its audience to fail morally, either intentionally or negligently. I distinguish three modes of subversive expertise: empirical subversion (the focus of agnotology), normative subversion and motivational subversion. Drawing on these distinctions, I offer a revisionary account of the Trump Administration’s regulatory science as a case study. I show that the Trump Administration’s use of expertise to dismantle climate regulation, contra the standard charge, cannot be explained using the resources of agnotology alone: the Administration produced highly reliable climate assessments, detailing the risks of climate change, candidly admitting the harms of its proposed policies, and still successfully deployed these findings to justify massive climate deregulation. The lesson of the analysis is that dismissing the expertise that underpins climate deregulation as empirically corrupt ‘anti-science’ both obscures its actual role in the politics of climate change and understates its wrongfulness: it misses the breadth of the assault on moral agency that sustains climate injustice. (shrink)

In this paper I will introduce a practical explication for the notion of expertise. At first, I motivate this attempt by taking a look on recent debates which display great disagreement about whether and how to define expertise in the first place. After that I will introduce the methodology of practical explications in the spirit of Edward Craig’s Knowledge and the state of nature along with some conditions of adequacy taken from ordinary and scientific language. This eventually culminates (...) in the respective explication of expertise according to which this term essentially refers to a certain kind of service-relation. This is why expertise should be considered as a predominantly social kind. This article will end up with a discussion of advantages and prima facie plausible objections against my account of expertise. (shrink)

Recent experimental studies indicate that epistemically irrelevant factors can skew our intuitions, and that some degree of scepticism about appealing to intuition in philosophy is warranted. In response, some have claimed that philosophers are experts in such a way as to vindicate their reliance on intuitions—this has become known as the ‘expertise defence’. This paper explores the viability of the expertise defence, and suggests that it can be partially vindicated. Arguing that extant discussion is problematically imprecise, we will (...) finesse the notion of ‘philosophical expertise’ in order to better reflect the complex reality of the different practices involved in philosophical inquiry. On this basis, we offer a new version of the expertise defence that allows for distinct types of philosophical expertise. The upshot of our approach is that wholesale vindications or rejections of the expertise defence are shown to be unwarranted; we must instead turn to local, piecemeal investigations of philosophical expertise. Lastly, in the spirit of taking our own advice, we exemplify how recent developments from experimental philosophy lend themselves to this approach, and can empirically support one instance of a successful expertise defence. (shrink)

Judging the warrant of conspiracy theories can be difficult, and often we rely upon what the experts tell us when it comes to assessing whether particular conspiracy theories ought to be believed. However, whereas there are recognised experts in the sciences, I argue that only are is no such associated expertise when it comes to the things we call `conspiracy theories,' but that the conspiracy theorist has good reason to be suspicious of the role of expert endorsements when it (...) comes to conspiracy theories and their rivals. The kind of expertise, then, we might associate with conspiracy theories is largely improvised—in that it lacks institutional features—and, I argue, ideally the product of a community of inquiry. (shrink)

In The Great Endarkenment, Elijah Millgram argues that the hyper-specialization of expert domains has led to an intellectual crisis. Each field of human knowledge has its own specialized jargon, knowledge, and form of reasoning, and each is mutually incomprehensible to the next. Furthermore, says Millgram, modern scientific practical arguments are draped across many fields. Thus, there is no person in a position to assess the success of such a practical argument for themselves. This arrangement virtually guarantees that mistakes will accrue (...) whenever we engage in cross-field practical reasoning. Furthermore, Millgram argues, hyper-specialization makes intellectual autonomy extremely difficult. Our only hope is to provide better translations between the fields, in order to achieve intellectual transparency. I argue against Millgram’s pessimistic conclusion about intellectual autonomy, and against his suggested solution of translation. Instead, I take his analysis to reveal that there are actually several very distinct forms intellectual autonomy that are significantly in tension. One familiar kind is direct autonomy, where we seek to understand arguments and reasons for ourselves. Another kind is delegational autonomy, where we seek to find others to invest with our intellectual trust when we cannot understand. A third is management autonomy, where we seek to encapsulate fields, in order to manage their overall structure and connectivity. Intellectual transparency will help us achieve direct autonomy, but many intellectual circumstances require that we exercise delegational and management autonomy. However, these latter forms of autonomy require us to give up on transparency. (shrink)

Julia Annas is one of the few modern writers on virtue that has attempted to recover the ancient idea that virtues are similar to skills. In doing so, she is arguing for a particular account of virtue, one in which the intellectual structure of virtue is analogous to the intellectual structure of practical skills. The main benefit of this skill model of virtue is that it can ground a plausible account of the moral epistemology of virtue. This benefit, though, is (...) only available to some accounts of virtue. Annas claims that Aristotle rejects this skill model of virtue, and so the model of virtues as a skill that Annas endorses for the modern virtue theory is Socratic. This paper argues that while Aristotle rejects the Socratic model of virtue as a skill, he does not reject the model of virtue as a skill altogether. Annas has mischaracterized Aristotle's position on the skill model, because she has not recognized that Aristotle endorses a different account of the structure of skill than the one put forth by Socrates. In addition, recent research on expertise provides an account of skills very much at odds with the description of skills offered by Annas, but similar to the account endorsed by Aristotle. Contrary to Annas, not only is the skill model of virtue compatible with a neo-Aristotelian account of virtue, but it also appears that basing a skill model of virtue on a Socratic account of virtue is likely to prove unsuccessful. (shrink)

Christian Quast has recently embarked on the project of systematizing the debate about the notion of expertise, an extremely fascinating and important issue addressed by scholars of many disciplines yet still in need of an interdisciplinary take. He sheds light on a number of relevant features of this notion and defends what he calls a “balanced” account of expertise, namely one that defines this concept in light of an expert’s dispositions, manifestations of their dispositions, and social role or (...) function. In this critical reply, I offer some considerations that put pressure on Quast’s balanced account and hopefully help anyone interested in this debate take a step forward toward explaining what it takes for one to be an expert. The reply is structured as follows. First, I argue that his allegedly balanced view is liable to a potentially compromising tension between its function component and the ingredients of objective expertise (§1). Then, I show that Quast’s threefold characterization of an objective expert is too strong, as it imposes conditions that several individuals whom we would consider experts are unable to fulfill (§2). Finally, I provide reasons in favor of endorsing an objective account of expertise in light of some specific features of our society and show how this account can take into due consideration the different services experts ordinarily perform (§3). (shrink)

In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive narratives. The "Woman, Life, Freedom" (...) movement, sparked by the tragic demise of Mahsa (Jina) Amini, unfolds like a poignant narrative, with women scripting the chapters of resistance. This movement, a collage of courage and defiance, has found a digital stage in the "Year of Hope" exhibition, where each artwork tells a story, each pixel a testament to the unyielding spirit of Iranian women. (shrink)

Perceptual malleability and diversity can stem from perceptual learning, expertise, genetics, disease, or accident. Perceptual malleability and diversity force us to reject the claim that perceptual capacities, perceptual experience, and perceptual content are universal across subjects and times. And it casts doubt on the presumption of a universal human perceptual nature. However, it does not directly challenge perceptual objectivity, understood as the claim that one can perceive a world of things and features that are independent from oneself and one's (...) experiences and that could be perceived by other subjects. (shrink)

Expertise is a cognitive achievement that clearly involves experience and learning, and often requires explicit, time-consuming training specific to the relevant domain. It is also intuitive that this kind of achievement is, in a rich sense, genuinely perceptual. Many experts—be they radiologists, bird watchers, or fingerprint examiners—are better perceivers in the domain(s) of their expertise. The goal of this paper is to motivate three related claims, by substantial appeal to recent empirical research on perceptual expertise: Perceptual (...) class='Hi'>expertise is genuinely perceptual and genuinely cognitive, and this phenomenon reveals how we can become epistemically better perceivers. These claims are defended against sceptical opponents that deny significant top-down or cognitive effects on perception, and opponents who maintain that any such effects on perception are epistemically pernicious. (shrink)

We start this article from Gilbert Ryle’s distinction between propositional knowledge, ‘knowing-that’, and procedural knowledge, ‘knowing-how’, and investigate how participants in interaction display orientation to the latter in various settings. As the knowledge of how things are done, know-how can be analyzed in terms of its relevance and consequentiality for parties in interaction. Similarly, as participants adjust their actions and understandings according to their sense of what they know and assume others to know, their know-how and its distribution may form (...) the basis for adjusting and reshaping their actions, forms of participation and identities. In this sense, we aim at opening an investigation of know-how, and its conventionalized form, expertise, in interaction. In as much as it forms a distinct domain, a new research object – expertise in interaction – is formulated. Methodological issues of how to study expertise in interaction are discussed. The data are in English and Finnish. (shrink)

The paper focuses on the kind of expertise required by doctors in health communication and argues that such an expertise is twofold: both epistemological and communicative competences are necessary to achieve compliance with the patient. Firstly, we introduce the specific epistemic competences that deal with diagnosis and its problems. Secondly, we focus on the communicative competences and argue that an inappropriate strategy in communicating the reasons of diagnosis and therapy can make patient compliance unworkable. Finally, we focus on (...) the case of diabetes metaphor and propose the deliberate use of metaphors in health communication as an educational tool. On the one hand, metaphors might help doctors in explaining the disease in simpler terms and framing the experience of illness according to patient’s specific needs. On the other hand, metaphors might encourage a change in patient’s beliefs on their own experience of illness, and enable them to reach a shared decision making with doctors. (shrink)

This chapter offers an overview of issues posed by the problem of immoral artists, artists who in word or deed violate commonly held moral principles. I briefly consider the question of whether the immorality of an artist can render their work aesthetically worse (making connections to chapters in the Theory section of the handbook), and then turn to questions about what the audience should do and feel in response to knowledge of these moral failings. I discuss questions such as whether (...) audiences have reason not to purchase or consume work by these artists, whether their shows and exhibitions should be canceled, and how fans might grapple with the emotional turmoil they feel when artists whom they love act or speak in ways that are morally condemnable. (shrink)

Experimental philosophers have challenged friends of the expertise defense to show that the intuitive judgments of professional philosophers are different from the intuitive judgments of nonphilosophers, and the intuitive judgments of professional philosophers are better than the intuitive judgments of nonphilosophers, in ways that are relevant to the truth or falsity of such judgments. Friends of the expertise defense have responded by arguing that the burden of proof lies with experimental philosophers. This article sketches three arguments which show (...) that both and are probably false. If its arguments are cogent, then shifting the burden of proof is a futile move, since philosophical training makes no difference so far as making intuitive judgments in response to hypothetical cases is concerned. (shrink)

This paper aims to vindicate the expertise defense in light of the experimental philosophy of free will. My central argument is that the analogy strategy between philosophy and other domains is defensible, at least in the free will debate, because philosophical training contributes to the formation of philosophical intuition by enabling expert philosophers to understand philosophical issues correctly and to have philosophical intuitions about them. This paper will begin by deriving two requirements on the expertise defense from major (...) criticisms of it. First, precisely how philosophical training contributes to the formation of philosophical intuitions requires explanation (Contribution); second, it must be explained how philosophical training immunizes philosophical intuitions from distorting factors (Immunity). I shall argue that the Contribution requirement is crucial for the expertise defense and that this requirement can be satisfied at least in the domain of free will: recent research shows that most novices are unable to understand determinism correctly, suggesting that having intuitions about determinism requires philosophical expertise. I then discuss how this proposal can be applied to other philosophical disciplines. (shrink)

The Hong and Page ‘diversity trumps ability’ result has been used to argue for the more general claim that a diverse set of agents is epistemically superior to a comparable group of experts. Here we extend Hong and Page’s model to landscapes of different degrees of randomness and demonstrate the sensitivity of the ‘diversity trumps ability’ result. This analysis offers a more nuanced picture of how diversity, ability, and expertise may relate. Although models of this sort can indeed be (...) suggestive for diversity policies, we advise against interpreting such results overly broadly. (shrink)

Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead (...) to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons. (shrink)

This paper has a twofold aim. On the one hand, we will discuss the much debated question of the source of normativity (which traditionally has nature and practical reason as the two main contenders to this role) and propose a new answer to it. Second, in answering this question, we will present a new account of practical wisdom, which conceives of the ethical virtues as ultimately unified in the chief virtue of phronesis, understood as ethical expertise. To do so, (...) we will first criticize the main current view of phronesis and its bearer (the phronimos), then offer another view of the nature of phronesis and of its relation to the other ethical virtues. Our proposal should not be intended as an interpretation of Aristotle’s own view; rather, it should be seen as a broadly Aristotelian theoretical proposal, which we believe can satisfyingly address most of the problems that afflict the more traditional accounts of practical wisdom. In section 2 of this paper, after criticizing first-nature naturalistic views of moral virtue, we take practical reason to be the cornerstone of second-nature naturalistic views; in section 3, we will outline criticisms to which, in our view, the traditional views of phronesis are ill-suited to respond, and, in section 4, we will outline our view of phronesis as ethical expertise – a view which in our view is immune to the above-mentioned criticisms – by spelling out the three main tenets of phronesis as ethical expertise: a conceptual thesis, an epistemic thesis, and the educational implications of the two. Finally, we will support our proposal with some empirical evidence taken from cognitive science. (shrink)

Populism, as I shall understand the term here, is a style of political rhetoric that posits a Manichean conflict between the people and corrupt elites. In the present decade, populism has played a particularly salient role in the politics of the United States and Europe. Moreover, populism is commonly associated with a kind of skepticism about expertise, on which the opinions of non- experts are to be preferred to any expert consensus. In light of all this, populist expertise (...) skepticism appears to be a kind of pathology of excessive intellectual autonomy. I shall argue, however, that this connection between populism and intellectual autonomy is mere appearance: populist expertise skepticism does not involve excessive intellectual autonomy, because it does not involve a disposition for non-deferential belief, but rather a disposition for deference to “alternative” sources of information. (shrink)

Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their work (...) to their audience's appreciative capacities. What I call the steadfast stance recommends that activist artists have reason to use their privilege of artistic exceptionalism to challenge their audience's expectations, even if this leads to misunderstanding. I claim that a middle position that I call liberal conciliation best balances the demands for actual change placed on activism and the experimental means that artists bring to activism. (shrink)

My topic is two-fold: a reductive account of expertise as an epistemic phenomenon, and applying the reductive account to the question of whether or not philosophers enjoy expertise. I conclude, on the basis of the reductive account, that even though philosophers enjoy something akin to second-order expertise (i.e. they are often experts on the positions of other philosophers, current trends in the philosophical literature, the history of philosophy, conceptual analysis and so on), they nevertheless lack first-order philosophical (...) expertise (i.e. expertise on philosophical positions themselves such as the nature of mind, causality, normativity and so forth). Throughout the paper, I respond to potential objections. (shrink)

What is the relationship between negative experience, artistic production, and prudential value? If it were true that (for some people) artistic creativity must be purchased at the price of negative experience (to be clear: currently no one knows whether this is true), what should we conclude about the value of such experiences? Are they worth it for the sake of art? The first part of this essay considers general questions about how to establish the positive extrinsic value of (...) something intrinsically negative. The second part emphasizes the importance of various distinctions within the realm of the negative. We must distinguish between adversity (which is non-mental) and negative mental states, and between negative thoughts (or attitudes) and negative affect. Within the realm of negative affect, we must distinguish between negative emotions and moods, on the one hand, and negative affective perspectives on the other, and then between mildly negative affective perspectives and severely negative ones (for which I reserve the term ‘suffering’). These distinctions matter greatly, since different types of negative experience have very different degrees of prudential disvalue. Although many types of negative experience may be “worth it”—because their positive extrinsic value outweighs their negative value—this is rarely true of severe suffering. (shrink)

Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music performance advocated (...) by the AIR approach is illustrated by the strategies that JK implements during performance. Through executing these strategies, JK attempts to increase the likelihood of vibe and connection by selectively exercising agency over performance variables within his control. In order to achieve this, JK must engage in ongoing monitoring of his performance, whereby the spotlight of his attention pans across a vast array of disparate performance processes (and levels within these processes) in order to ascertain how he can most effectively meet the specific demands of a given performance situation. It is hoped that future research compiling data from numerous interviews and sources as well as using different research methodologies will further unlock the potential that the AIR approach holds for understanding expert performance. (shrink)

In domains like stock brokerage, clinical psychiatry, and long‐term political forecasting, experts generally fail to outperform novices. Empirical researchers agree on why this is: experts must receive direct or environmental learning feedback during training to develop reliable expertise, and these domains are deficient in this type of feedback. A growing number of philosophers resource this consensus view to argue that, given the absence of direct or environmental philosophical feedback, we should not give the philosophical intuitions or theories of expert (...) philosophers greater credence than those of novice philosophers. This article has three objectives. The first is to explore several overlooked issues concerning the strategy of generalizing from empirical studies of non‐philosophical expertise to the epistemic status of philosophical expertise. The second is to explain why empirical research into a causal relationship between direct learning feedback and enhanced expert performance does not provide good grounds for abandoning a default optimism about the epistemic superiority of expert philosophical theories. The third is to sketch a positive characterization of learning feedback that addresses developmental concerns made salient by the empirical literature on expert performance for specifically theory‐driven or “armchair” domains like philosophy. (shrink)

Expertise is traditionally classified into perceptual, cognitive, and motor forms. I argue that the empirical research literature on expertise gives us compelling reasons to reject this traditional classification and accept an alternative. According to the alternative I support there is expertise in forming impressions, which further divides into expertise in forming sensory and intellectual impressions, and there is expertise in performing actions, which further divides into expertise in performing mental and bodily actions. The traditional (...) category of cognitive expertise splits into two--expertise in forming intellectual impressions and expertise in performing mental actions. I consider and address a challenge to my case in favor of adopting this alternative classification of expertise that derives from dual process theories of cognition. (shrink)

Practical knowledge is discussed in close relation to practical expertise. For both anti-intellectualists and intellectualists, the knowledge of how to φ is widely assumed to entail the practical expertise in φ-ing. This paper refutes this assumption. I argue that non-experts can know how to φ via other experts’ knowledge of φ-ing. Know-how can be ‘outsourced’. I defend the outsourceability of know-how, and I refute the objections that reduce outsourced know-how to the knowledge of how to ask for help, (...) of how to get things done, or of external contents. Interestingly, outsourcing differs from social cooperation, collective agency, testimonial transmission, and many other notions in social-epistemological debates. Thus, outsourcing provides not only a hitherto unconsidered form of know-how but also a novel way for knowledge to be social. Furthermore, outsourcing plausibly involves a ‘social’ cognitive extension that does not rest on EMT or HEC. Given the outsourceability of know-how, we must reconsider the nature of know-how and expertise, as well as the relation between non-experts and experts. (shrink)

Many philosophers working on virtue theory have resisted the idea that the virtues are practical skills, apparently following Aristotle’s resistance to that idea. Bucking the trend, Matt Stichter defends a strong version of this idea in The Skillfulness of Virtue by marshaling a wide range of conceptual and empirical arguments to argue that the moral virtues are robust skills involving the cognitive-conative unification of Aristotelian phronêsis (‘practical intelligence’). Here I argue that Aristotle overlooks a more delimited kind of practical intelligence, (...) strongly analogous to his own account of phronêsis, that unifies complex forms of expertise such as medicine or even high-level sports. Insofar as the skill model of virtue is compelling, it must draw on a robust conception of practical expertise (technê) like the one developed here rather than the ordinary, anemic conception of practical skills. (shrink)

We all can identify many contemporary philosophy professors we know to be theists of some type or other. We also know that often enough their nontheistic beliefs are as epistemically upstanding as the non-theistic beliefs of philosophy professors who aren’t theists. In fact, the epistemic-andnon-theistic lives of philosophers who are theists are just as epistemically upstanding as the epistemic-and-non-theistic lives of philosophers who aren’t theists. Given these and other, similar, facts, there is good reason to think that the pro-theistic beliefs (...) of theistic philosophers are frequently epistemically upstanding. Given their impeccable epistemic credentials on non-theistic matters, the amount of careful thought that lies behind their theism, the large size of the community of philosophical theists, as well as other, similar facts, it would be surprising if all or even most of their pro-theistic beliefs were epistemically blameworthy in some or other signicant sense tied to charges such as ‘He should know better than to believe that’ (so mere false belief need not be blameworthy in this sense; the use of ‘blameworthy’ will be claried below). Of course some of the pro-theistic beliefs of some theistic philosophers are epistemically blameworthy; the mere large numbers of fallible theistic philosophers almost guarantees it. My point here is that it would be unexpected if most of the pro-theistic beliefs of theistic philosophers were epistemically blameworthy. (shrink)

What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are (...) there limits on what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

Instability occurs when the very fact of choosing one particular possible option rather than another affects the expected values of those possible options. In decision theory: An act is stable iff given that it is actually performed, its expected utility is maximal. When there is no stable choice available, the resulting instability can seem to pose a dilemma of practical rationality. A structurally very similar kind of instability, which occurs in cases of anti-expertise, can likewise seem to create dilemmas (...) of epistemic rationality. One possible line of response to such cases of instability, suggested by both Jeffrey (1983) and Sorensen (1987), is to insist that a rational agent can simply refuse to accept that such instability applies to herself in the first place. According to this line of thought it can be rational for a subject to discount even very strong empirical evidence that the anti-expertise condition obtains. I present a new variety of anti-expertise condition where no particular empirical stage-setting is required, since the subject can deduce a priori that an anti-expertise condition obtains. This kind of anti-expertise case is therefore not amenable to the line of response that Jeffrey and Sorensen recommend. (shrink)

A coherent practice of mens rea (‘guilty mind’) ascription in criminal law presupposes a concept of mens rea which is insensitive to the moral valence of an action’s outcome. For instance, an assessment of whether an agent harmed another person intentionally should be unaffected by the severity of harm done. Ascriptions of intentionality made by laypeople, however, are subject to a strong outcome bias. As demonstrated by the Knobe effect, a knowingly incurred negative side effect is standardly judged intentional, whereas (...) a positive side effect is not. We report the first empirical investigation into intentionality ascriptions made by professional judges, which finds (i) that professionals are sensitive to the moral valence of outcome type, and (ii) that the worse the outcome, the higher the propensity to ascribe intentionality. The data shows the intentionality ascriptions of professional judges to be inconsistent with the concept of mens rea supposedly at the foundation of criminal law. (shrink)

The classical Chinese philosophical tradition (ca. 6th to 3rd centuries BCE) contains rich discussion of skill and expertise. Various texts exalt skilled exemplars (whether historical persons or fictional figures) who guide and inspire those seeking virtuosity within a particular dao (guiding teaching or way of life). These texts share a preoccupation with flourishing, or uncovering and articulating the constituents of an exemplary life. Some core features thought requisite to leading such a life included spontaneity, naturalness, and effortless ease. However, (...) there was also significant disagreement during this ‘Warring States’ or ‘Hundred Schools’ period on which skills were valuable, how one should cultivate them, and who exactly ought to serve as exemplars. In this chapter, I discuss two prominent types of expertise and their attendant skills. The first is expertise at a particular craft, occupation, or dao, which finds its most poignant celebration in the early Daoist anthology Zhuangzi. Interest in crafts or skilled occupations was likely motivated by a perceived (or implied) analogy with living a good life more generally. The second concerns ethical expertise, a prominent and widely held ideal within the Ruist (Confucian) and Mohist schools. Both maintain that ethical expertise consists of an ability to apply past models or precedents to current cases, though they diverge on what those models are and how to properly apply them. The aim is to provide non-specialists an overview of this literature in Daoism, Confucianism, and Mohism, while also providing suggestions about further research. (shrink)

I argue that contemporary artists fix the features of their works not only through their actions of making and presenting objects, but also through auxiliary activities such as corresponding with curators and institutions. I refer to such fixing of features as the artist’s sanction: artists sanction features of their work through publicly accessible actions and communications, such as making a physical object with particular features, corresponding with curators and producing artist statements. I show, through an extended example, that in order (...) to grasp the nature of contemporary artworks, and thus be in a position to interpret them, we must attend to the features the artist has sanctioned. However, this does not amount to saying that the artist’s intention fixes the features of the work. While related to intentions, sanctions are not identical to them; and, indeed, the features the artist has sanctioned may conflict, in some cases, with those she intended. I distinguish my view from actual and hypothetical intentionalism and show that considering the artist’s sanction does not force us to accept any particular interpretation of the work. I also show that, while it has special relevance to our understanding of contemporary artworks, the notion of the sanction is in fact relevant to traditional Western art as well. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not (...) disinterested or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

One Stoic response to the skeptical indistinguishability argument is that it fails to account for expertise: the Stoics allow that while two similar objects create indistinguishable appearances in the amateur, this is not true of the expert, whose appearances succeed in discriminating the pair. This paper re-examines the motivations for this Stoic response, and argues that it reveals the Stoic claim that, in generating a kataleptic appearance, the perceiver’s mind is active, insofar as it applies concepts matching the perceptual (...) stimulus. I argue that this claim is reflected in the Stoic definition of the kataleptic appearance, and that it respects their more general account of mental representation. I further suggest that, in attributing some activity to the mind in creating each kataleptic appearance, and in claiming that the expert’s mind allows her to form more kataleptic appearances than the amateur, the Stoics draw inspiration from the wax tablet model in Plato’s Theaetetus (190e–196d), where Socrates distinguishes the wise from the ignorant on the basis of how well they match sensory input with its appropriate mental ‘seal’ (σφραγίς). (shrink)

In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial tone (...) in which Wittgenstein shares his observation with the reader, but also the lack of long-winded arguments or explanations. In the concluding part I suggest that we can read Wittgenstein’s artworks of a specific kind: as philosophical works of art. (shrink)

The history of philosophy is replete with attempts at invoking rationality as a means of directing and even subduing human desire and emotion. Understood as that which moves human beings to action, desire and emotion come to be associated with human freedom and rationality as a means of curbing that freedom. Plato, for instance, takes for granted a separation between thought and action that drives a wedge between our rational ability to exercise self-discipline and the free expression of desire and (...) emotion. Hobbes, on the other hand, replaces our internal ability for rational self-control with the external authority of the political State. So long as freedom and control are pitted against one another, human beings are incapable of attaining a symbiosis of these two elements of human action so essential to realizing true democracy. Unlike Plato, John Dewey sees in democracy the greatest potential for individual and social life. The purpose of this dissertation is to demonstrate how the educational philosophy of Dewey, which culminates in an educational aesthetic, appeals to and makes the most of the symbiosis of freedom and self-control, emotion and reason. Dewey’s educational aesthetic not only offers an alternative to traditional methods of education, but also demonstrates how the goal of a democratic way of life is made feasible by means of intelligently guided self-discipline—a form of self-control guided by intelligence that is not a constraint upon freedom, but instead embodies greater opportunity for freedom. I trace the basis for this synthesis, in the social-political and pedagogical principles of John Locke and Jean-Jacques Rousseau. Both Locke and Rousseau offer educational theories that begin turning our attention toward the essential partnership required of rationality and emotion. Dewey's educational aesthetic is then considered as a response to alienating forms of education that continue to pit control and freedom against one another, and which thwart the intellectual and emotional development necessary for autonomy and democratic forms of social organization. (shrink)

In the past 60 years or so, the philosophical subject of artistic expression has generally been handled as an inquiry into the artistic expression of emotion. In my view this has led to a distortion of the relevant territory, to the artistic expression of feeling’s too often being overlooked. I explicate the emotion-feeling distinction in modern terms, and urge that the expression of feeling is too central to be waived off as outside the proper philosophical subject of (...) artistic expression. Restricting the discussion to the art of painting, I sketch a partial psychological model for the exrtistic expression of feelipression of feeling. Although the feeling-emotion contrast is seldom made clear in their writings, I stress that many, or even most of the eminent pre-1960’s voices in aesthetics and art criticism—Croce, Dewey, Langer, Bosanquet, Berenson and others—would more or less agree that feeling is no less important for expression than emotion, and indeed can be interpreted as anticipating many points that I set forth. (shrink)

The aim of this paper is to explain why creativity is an artistic merit. Artworks and non-artworks can both be creative. But creativity does not help make many other creative things good of their kind. A creative explanation is not a better explanation in virtue of being creative. Why, then, is a creative artwork a better artwork in virtue of being creative? Understanding this will give us a better understanding of the nature of artistic merit. The approach adopted (...) in this paper is as follows. First, I say what creativity is and what an artistic merit is. Second, I identify reasons to doubt that creativity is an artistic merit. A good explanation of the merit of creativity should address these doubts. Third, I develop a theory of artistic merit that appeals to the final value of acting excellently – for example, virtuously or skilfully. Finally, I argue that this enables us to explain why creativity is an artistic merit. This account also enables us to argue that artistic merits give some things final value, and not merely instrumental value. It also provides reason to believe that ethical qualities of artworks enhance their artistic merit for the same reason creativity does. (shrink)

Since its existence, art objects have always been different from other objects in terms of perception and interpretation and have preserved their mystery for both the artist and the audience. This mystery was tried to be supported by various theories by the artist and the audience, and defined and defined with concepts such as spiritual development, spirituality and intuition. There is an ambiguity especially regarding intuition. The concept of intuition seems to be trapped in a bridge between the physical world (...) and the superphysical world. The concept of intuition has been interpreted together with the teachings of Theosophy and Buddhism and turned into an educational theory in today's art-based studies. In our age, interpretations beyond reality are increasing and unfortunately faced with the danger of losing the ground of reality. Art is a type of knowledge and knowing. Due to this feature, the compatibility of surreal discourses with this type of knowledge is discussed in this article, and on the other hand, it is tried to show how concepts such as synesthesia and intuition become possible on the basis of reality, based on the artistic experiences of world-famous artists. (shrink)

How does a coloured bird end up on a TUGboat? This is the story of an artist who studied philosophy and combined her skills in a PhD at the University of Amsterdam (NL). In order to write her dissertation, she had to learn the LaTeX typesetting programme. Many years later, she still makes art and still writes down her thoughts in LaTeX, with the Memoir class and XeLaTeX as first choice. Always trying to stretch the limits of the programme to (...) her convenience. -/- This essay is not a technical article written by a developer conjuring up ingenious innovations to the LaTeX programme. By contrast, it discusses the relationship between LaTeX, art (photography) and the concept of 'measurability' from the perspective of a philosophising artist. (shrink)

To better understand the nature of joint expertise and its underlying processes, we need not only analyses of the general conditions for skilled group action, but also descriptive accounts of the features and dimensions that vary across distinct performances and contexts, such as sport and the arts. And in addition to positioning our accounts against current models of individual skill, we need concepts and lessons from work on collaborative processes in other cognitive domains. This paper examines ecological or situational (...) components of expert joint action in practice, then offers a selective survey of some key cognitive and affective resources that shape and transform group performance. (shrink)

The primary aim of this chapter is to outline the consensuses that have emerged in recent philosophical works tackling normative questions about responding to immoral artist’s art. While disagreement amongst philosophers is unavoidable, there is actually much agreement on the ethics of media consumption. How should we evaluate immoral artist’s art? Philosophers generally agree that we should not always separate the artist from the art. How should we engage with immoral artist’s art? Philosophers generally agree that we should not always (...) reflexively turn away from them. In turn, these responses reveal that moral value is not autonomous from aesthetic value, and neither dominates the other. The secondary aim of this chapter is to explore the ramifications of this revelation. I argue that, in addition to an ethics of media consumption, we need an aesthetics of media consumption that is fundamentally social rather than solitary. (shrink)