In this paper I argue that the best explanation of expertise about taste is that such alleged experts are simply more eloquent in describing the taste experiences that they have than are ordinary tasters.

The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed (...) just as obvious to many philosophers that aesthetic judgment requires first-person experience. In this article we argue that, despite its initial appeal, the claim that gustatory and critical judgments are analogous in this way is mistaken. The two sorts of judgments are, as a matter of fact, similar in their epistemology, but earlier theorists have got things entirely backward—neither gustatory judgment nor aesthetic judgment requires first-hand acquaintance with their objects. Our particular focus in this article is on arguing that first-person experience is not required to know how an item of food or drink tastes. In fact, there are a wide variety of ways in which we can acquire this knowledge. (shrink)

Sentences such as 'Chocolate tastes good' have been widely discussed as sentences that give rise to faultless disagreement. As such, they actually belong to the more general class of impersonal perception reports, which include 'The violin sounds / looks strange' as well sentences that are about an agent-centered situation such as 'It feels / seems like it is going to rain'. I maintain the view that faultless disagreement is due to first person-based genericity, which, roughly, consists in attributing a property (...) to anyone the speaker (or described agent) identifies with (which generally requires a first-person experience) (Moltmann 2010). Unlike my previous analysis (and similar analyses), this paper no longer makes use of experiencers or judges as implicit arguments of taste predicates, but argues that impersonal perception verbs (taste, look, feel, seem), have a logophoric character. More precisely, such verbs describe perceptual occurrences whose experiencer is identical to the agent of the utterance situation, described attitudinal situation, or the situations a generic operator may range over. Perceptual occurrences are sharply distinguished ontologically from perceptual experiences as well as perceptual objects, entities we refer to as ‘the taste of chocolate’, ‘the sound of the violin’, ‘the look of the violin’. Sentences about perceptual objects ('the taste of chocolate is good', 'the sound of the violin is great', 'the look of the violin is beautiful') also give rise to faultless disagreement, but the source of that is a first-person-based attribution of an evaluative predicate to an (objective) perceptual object. (shrink)

Simple taste predications come with an acquaintance requirement: they require the speaker to have had a certain kind of first-hand experience with the object of predication. For example, if I tell you that the creme caramel is delicious, you would ordinarily assume that I have actually tasted the creme caramel and am not simply relying on the testimony of others. The present essay argues in favor of a 'lightweight' expressivist account of the acquaintance requirement. This account consists of (...) a recursive semantics and an account of assertion; it is compatible with a number of different accounts of truth and content, including contextualism, relativism, and purer forms of expressivism. The principal argument in favor of this account is that it correctly predicts a wide range of data concerning how the acquaintance requirement interacts with Boolean connectives, generalized quantifiers, epistemic modals, and attitude verbs. (shrink)

It is generally accepted that sight—the capacity to see or to have visual experiences—has the power to give us knowledge about things in the environment and some of their properties in a distinctive way. Seeing the goose on the lake puts me in a position to know that it is there and that it has certain properties. And it does this by, when all goes well, presenting us with these features of the goose. One might even think that it is (...) part of what it is to be a perceptual capacity that it has this kind of epistemological power, such that a capacity that lacked this power could not be perceptual. My focus in this essay is the sense of taste—the capacity to taste things or to have taste experiences. It has sometimes been suggested that taste lacks sight-like epistemological power. I argue that taste has epistemological power of the same kind as does sight, but that as a matter of contingent fact, that power often goes unexercised in our contemporary environment. We can know about things by tasting them in the same kind of way as we can know about things by seeing them, but we often do not. I then consider the significance of this conclusion. I suggest that in one way, it matters little, because our primary interest in taste is not epistemic but aesthetic. But, I end by suggesting, it can matter ethically. (shrink)

According to contextualism, the extension of claims of personal taste is dependent on the context of utterance. According to truth relativism, their extension depends on the context of assessment. On this view, when the taste preferences of a speaker change, so does the truth value of a previously uttered taste claim, and the speaker might be required to retract it. Both views make strong empirical assumptions, which are here put to the test in three experiments with over (...) 740 participants. It turns out that the linguistic behaviour of ordinary English speakers is consistent with contextualist predictions and inconsistent with the predictions of the most widely discussed form of truth relativism advocated by John MacFarlane. (shrink)

Two common strategies have dominated attempts to account for the nature of taste. On the one side, we have an affectivist understanding of taste where aesthetic attribution has to do with the expression of a subjective response. On the other side, we find a non-affectivist approach according to which to judge something aesthetically is to epistemically track its main aesthetic properties. Our main argument will show that neither emotion nor perception can explain the nature of aesthetic taste (...) single-handedly. In this paper, our principal aim is to examine the relationship between perceptual discernment and emotional sensibility as we find it in the process of ascribing aesthetic qualities. Is it the nature of the specific aesthetic property in question which determines the way in which perception and emotion are balanced in aesthetic attribution, or is it, rather, something about how our sensory skills operate? One of the notions we would like to explore in greater detail in this context is the idea of attunement, or the way in which aesthetic agents can align themselves to the content of an artwork o in order to better grasp its content and significance. According to our proposed picture, the exercise of taste involves an adjustment of one’s emotional sensibility to the aesthetic character of o. From here, we will posit both emotional and perceptual training as part of an agent’s aesthetic education in her use of aesthetic terms. (shrink)

The recent literature abounds with accounts of the semantics and pragmatics of so-called predicates of personal taste, i.e. predicates whose application is, in some sense or other, a subjective matter. Relativism and contextualism are the major types of theories. One crucial difference between these theories concerns how we should assess previous taste claims. Relativism predicts that we should assess them in the light of the taste standard governing the context of assessment. Contextualism predicts that we should assess (...) them in the light of the taste standard governing the context of use. We show in a range of experiments that neither prediction is correct. People have no clear preferences either way and which taste standard they choose in evaluating a previous taste claim crucially depends on whether they start out with a favorable attitude towards the object in question and then come to have an unfavorable attitude or vice versa. We suggest an account of the data in terms of what we call hybrid relativism. (shrink)

My partner loves the experiences she gets from eating olives. I, on the other hand, hate the experiences I get from eating olives. We differ in tastes. But how exactly do we differ? In particular: do our taste experiences differ phenomenologically—that is, do my olive-experiences feel different than my partner’s olive-experiences? Some philosophers have assumed that the answer is “no,” and have advanced important arguments which turn on this assumption. I argue that, contrary to what these philosophers assume, ordinary (...) taste differences do involve differences in phenomenology. My olive-experiences feel different than my partner’s olive-experiences. I argue for this phenomenal thesis in stages. First, I argue that there is a link between our attitudes and our pleasures; second, I argue that there is a link between our pleasures and our phenomenology. Together, my conclusions link our attitudes and phenomenology in a way that vindicates the phenomenal thesis. Along the way, I fend off various worries about what the phenomenal thesis might entail. I show that it does not entail any form if radical subjectivism, nor does it entail that there is a “distinctive feeling of pleasure.” I close by considering how opponents of the phenomenal thesis might retreat to a weaker thesis: one which concerns extraordinary taste differences, as opposed to ordinary taste differences. I argue that there are no obviously sound arguments for even this weaker thesis, which should make us all the more confident in the phenomenal thesis. (shrink)

According to Friedrich Schleiermacher, religiosity is rooted in feeling (Gefühl). As a result of our engagement with the world, on which we depend and which we can influence, we have both a sense of dependence and of freedom. Schleiermacher speculated that a sense of absolute dependence in reflective beings with self-consciousness (human beings) gave rise to religion. Using insights from contemporary philosophy of biology and cognitive science, I seek to naturalize Schleiermacher's ideas. I moreover show that this naturalization is in (...) line with Schleiermacher's outlook on biology, as he already had evolutionary considerations in mind when he wrote the Christian Faith (1830). While Schleiermacher rejects natural theology in a narrow sense (proofs for the existence of God), his project is natural theological in a broader sense, as it roots religion in experiences that we can examine using naturalistic theories. (shrink)

For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I (...) appeal to Kant's notions of an aesthetic idea and an aesthetic attribute, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it. -/- . (shrink)

Utterances of simple sentences containing taste predicates (e.g. "delicious", "fun", "frightening") typically imply that the speaker has had a particular sort of first-hand experience with the object of predication. For example, an utterance of "The carrot cake is delicious" would typically imply that the speaker had actually tasted the cake in question, and is not, for example, merely basing her judgment on the testimony of others. According to one approach, this acquaintance inference is essentially an implicature, one generated (...) by the Maxim of Quality together with a certain principle concerning the epistemology of taste (Ninan 2014). We first discuss some problems for this approach that arise in connection with disjunction and generalized quantifiers. Then, after stating a conjecture concerning which operators ‘obviate’ the acquaintance inference and which do not, we build on Anand & Korotkova (2018) and Willer & Kennedy (Forthcoming) by developing a theory that treats the acquaintance requirement as a presupposition, albeit one that can be obviated by certain operators. (shrink)

Kant’s argument in § 38 of the *Critique of Judgment* is subject to a dilemma: if the subjective condition of cognition is the sufficient condition of the pleasure of taste, then every object of experience must produce that pleasure; if not, then the universal communicability of cognition does not entail the universal communicability of the pleasure. Kant’s use of an additional premise in § 21 may get him out of this difficulty, but the premises themselves hang in the (...) air and have no independent plausibility. What Kant offers as a proof of our right to make judgments of taste is more charitably construed as an indirect argument for the adequacy of a speculative explanation of a *presumed* right to make judgments of taste. (shrink)

In the last decade there has been a torrent of work at the intersection of philosophy and linguistics on predicates of personal taste, subjective expressions like fun and tasty that are used to express opinions rather than matters of fact. In each section of this paper I discuss a phenomenon that has been largely overlooked in the literature on PPTs. In Section 1, I identify a neglected experiential reading of these adjectives. All other theories of expressions like fun take (...) them to express some standing property, but distributional and compositional considerations suggest that the basic meaning of fun adjectives is experiential. In Section 2, I discuss the relation between fun claims relativized to particular experiencers and their unrelativized counterparts, arguing that previous theories fail to capture the evaluativity unique to the latter. Finally, I argue... (shrink)

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

Our experiences with the external world are possible mainly through vision, hearing, taste, touch, and smell providing us a sense of reality. How the brain is able to seamlessly integrate stimuli from our external and internal world into our sense of reality has yet to be adequately explained in the literature. We have previously proposed a three-dimensional unified model of consciousness that partly explains the dynamic mechanism. Here we further expand our model and include illustrations to provide a better (...) conception of the ill-defined space within the self, providing insight into a unified mind-body concept. In this article, we propose that our senses “super-impose” on an existing dynamic space within us after a slight, imperceptible delay. The existing space includes the entire intrapersonal space and can also be called the “the body’s internal 3D default space”. We provide examples from meditation experiences to help explain how the sense of ‘self’ can be experienced through meditation practice associated with underlying physiological processes that take place through cardio-respiratory synchronization and coherence that is developed among areas of the brain. Meditation practice can help keep the body in a parasympathetic dominant state during meditation, allowing an experience of inner ‘self’. Understanding this physical and functional space could help unlock the mysteries of the function of memory and cognition, allowing clinicians to better recognize and treat disorders of the mind by recommending proven techniques to reduce stress as an adjunct to medication treatment. (shrink)

Faultless disagreement and faultless retraction have been taken to motivate relativism for predicates of personal taste, like ‘tasty’. Less attention has been devoted to the question of what aspect of their meaning underlies this relativist behavior. This paper illustrates these same phenomena with a new category of expressions: appearance predicates, like ‘tastes vegan’ and ‘looks blue’. Appearance predicates and predicates of personal taste both fall into the broader category of experiential predicates. Approaching predicates of personal taste from (...) this angle suggests that their relativist behavior is due to their experience-sensitivity, rather than their evaluative meaning. Furthermore, appearance predicates hold interest beyond what they can teach us about predicates of personal taste. Examination of a variety of uses of appearance predicates reveals that they give rise to relativist behavior for a variety of reasons—including some that apply also to other types of expressions, such as epistemic modals and comparative terms. This paper thus serves both to probe the source of relativist behavior in discourse about personal taste, as well as to map out this kind of behavior in the rich and under-explored discourse about appearances. (shrink)

Sensations can occur in the absence of perception and yet be experienced ‘as if’ seen, heard, tasted, or otherwise perceived. Two concepts used to investigate types of these sensory-like mental phenomena (SLMP) are mental imagery and hallucinations. Mental imagery is used as a concept for investigating those SLMP that merely resemble perception in some way. Meanwhile, the concept of hallucinations is used to investigate those SLMP that are, in some sense, compellingly like perception. This may be a difference of degree. (...) Attempts to reliably differentiate between instances of each type of SLMP remain unresolved. Despite this, the concepts of mental imagery and hallucinations are each routinely used independently of the other. These uses are especially interesting in those published accounts of experiments where equivalent findings about the neuroanatomical correlates of SLMP are reported in support of diverging knowledge-claims about the role of SLMP in neurocognitive processes. This practice presents a puzzle. To examine one aspect of this puzzle, I compare the uses of these two scientific concepts in three ways: examining their roles in differentiating between types of SLMP; exploring how their respective historical developments intersect; and analysing their contributions in neuroimaging experiments. In presenting this series of comparative analyses, I will draw on three themes from historical, philosophical, and social studies of scientific practices: interest in material contributions to knowledge; accounts of how concepts are used in experiments; and explorations of the historical conditions within which current practices emerge. Building on this literature, my comparative analyses supports five related claims. My first claim is that the concepts of mental imagery and hallucinations are each used as independent tools in neuroimaging experiments. My second claim is that, as experimental tools, the concepts of mental imagery and hallucinations are each used for investigating discrete epistemic goals. My third claim is that there are implicit interdependent associations that structure the uses of these two concepts as tools for independently investigating these discrete epistemic goals in neuroimaging experiments. This third claim rests on my analyses of both past and present uses of each concept. Firstly, as seen in their intersecting histories, there are disciplined performances of using the concepts of mental imagery and hallucinations that carry-along shared associations about the mediating role of SLMP in thought. Secondly, these interdependent ‘mediator-view’ associations continue to structure the independent uses of each concept as a tool for investigating SLMP in pursuit of specific goals. Taking this further, my fourth claim is that recognising the structured uses of the concepts of mental imagery and hallucinations can help to account for how equivalent SLMP-neuro-correlates are generated in support of diverging knowledge-claims. Finally, my fifth claim is that the structured uses of these concepts as tools can contribute to experiments in ways analogous to, yet not equivalent with, the active contributions of material instruments. Bringing these claims together, I argue that the concepts of mental imagery and hallucinations operate as structured tools that can actively contribute to the knowledge generated by neuroimaging experiments. In presenting this argument I seek to demonstrate that examining the structured uses of concepts as tools can complement existing approaches to studying how the heterogeneous dynamics of experimental practices can come to contribute to scientific knowledge in unintended ways. (shrink)

Pets are truly great companions. Some individuals feel that owning a pet can help them prepare for a growing family by giving them a taste of what it would be like to have children. This study also looks into the psychological well-being and life experiences of LGBT fur parents. Employing the Interpretative Phenomenological Analysis, the findings of this study were: (1) With the presence of fur babies, participants had the ease to overcome stressful events, especially the ones that affect (...) their mental health. With these, they have the desire to take care of their fur babies under all circumstances because they see their fur babies as family members. Fur babies are excellent sources of motivation, confidence, and happiness for fur parents. They are treated as family members because they contribute to the mental and emotional aspects of fur parents. Moreover, the majority of respondents valued their pets far more than their actual family members, however, some didn't spend as much time with their relatives and friends. This study comes to the conclusion that a stronger bond with one's dog was also linked to higher anxiety about being unloved and rejected by family members and people surrounding us, which was linked to a heavier impact on one's psychological well-being. In reality, fur parents, especially LGBT parents, offer their fur babies a lot of love and attention compared to other things. (shrink)

Each of our sensory modalities—vision, touch, taste, etc.—works on a slightly different timescale, with differing temporal resolutions and processing lag. This raises the question of how, or indeed whether, these sensory streams are co-ordinated or ‘bound’ into a coherent multisensory experience of the perceptual ‘now’. In this paper I evaluate one account of how temporal binding is achieved: the temporal windows hypothesis, concluding that, in its simplest form, this hypothesis is inadequate to capture a variety of multisensory phenomena. (...) Rather, the evidence suggests the existence of a more complex temporal structure in which multiple overlapping windows support distinct functional mechanisms. To aid in the precise formulation of such views, I propose a taxonomy of temporal window types and their characteristics that in turn suggests promising avenues for future empirical and philosophical research. I conclude by examining some philosophical implications of multi-window models for the metaphysics of perception and perceptual experience more generally. (shrink)

Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how do (...) these experiences foster self-transcendence? -/- A thematic analysis was performed on the online interviews conducted (N=25), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters. (shrink)

Is the flavor of mint reducible to the minty smell, the taste, and the menthol-like coolness on the roof of one’s mouth, or does it include something over and above these—something not properly associated with any one of the contributing senses? More generally, are there features of perceptual experiences—so-called novel features—that are not associated with any of our senses taken singly? This question has received a lot of attention of late. Yet surprisingly little attention has been paid to the (...) question of what it means to say that a feature is associated with a sensory modality in the first place. Indeed, there is only one fully developed proposal in the literature, due to Casey O’Callaghan. I argue that this proposal is too permissive to inform the debate over novel features. I go on to argue that all attempts to formulate a better proposal along these lines fail. The corollary of my arguments is that the question of the existence of novel features is poorly formed. Furthermore, the problem generalizes, with the result that we should not rely on our pre-theoretical notions of the senses as the basis of theorizing about the features of perceptual experiences. (shrink)

The main contention of this paper is that, just as there is something it is like to smell a rose, taste chocolate, and hear a siren, there is something it is like to perform an action. In other words, I will argue that we ought to recognize, alongside these other familiar forms of phenomenology, a distinctive phenomenology of agency. My claim is not simply that there is some subjective experience that attaches to the performance of actions. No one (...) disputes that action is typically accompanied by a range of kinaesthetic and visual experiences, and often preceded by conscious thoughts about what to do. The position I wish to defend, rather, is that there is a proprietary phenomenology or subjective character associated with action that “goes beyond” (Horgan et al. 2003, p. 323) these familiar types of sensory and cognitive experience (for other treatments of this topic, see Horgan 2007; Bayne and Levy 2006; Bayne 2008; Pacherie 2008; Kriegel 2015; Shepherd 2017). (shrink)

The essay introduces the problem of aesthetic unreliability, the variety of ways in which it is difficult to grasp our aesthetic experience and the consequent confusion and unreliability of what we take as our taste.

According to some views of consciousness, when I experience the taste of mango, I also have an inner awareness of that mango-taste experience. What is this inner awareness? A common way to characterize a mental state type is in terms of its characteristic content and attitude. This is what I propose to do in this paper. I argue (a) that conscious experiences constitute the characteristic content of inner awareness, and (b) that the characteristic attitude of inner (...) awareness is that of representing-as-occurring-now-in-me this content. (shrink)

The dual role of olfaction in both smelling and tasting, i.e. flavour perception, makes it an important test case for philosophical theories of sensory individuation. Indeed, the psychologist Paul Rozin claimed that olfaction is a “dual sense”, leading some scientists and philosophers to propose that we have not one, but two senses of smell: orthonasal and retronasal olfaction. In this paper I consider how best to understand Rozin’s claim, and upon what grounds one might judge there to be one or (...) two distinct olfactory modalities. I conclude that while Rozin may be right that humans have dual occurrences of an olfactory ‘sense’, the concept of a sense-modality, and hence the ‘sense’ of smell, is ambiguous between two different notions: a physiological sensory channel and an experiential modality, along the lines suggested by J. J. Gibson. Furthermore, recognising that these are complementary rather than competing conceptions of a sense-modality enables the formulation of a powerful ‘dual-concept’ framework for posing and addressing questions concerning the complex architecture of human multisensory experience. (shrink)

Long-standing neglect of the chemical senses in the philosophy of perception is due, mostly, to their being regarded as ‘lower’ senses. Smell, taste, and chemically irritated touch are thought to produce mere bodily sensations. However, empirically informed theories of perception can show how these senses lead to perception of objective properties, and why they cannot be treated as special cases of perception modelled on vision. The senses of taste, touch, and smell also combine to create unified perceptions of (...) flavour. The nature of these multimodal experiences and the character of our awareness of them puts pressure on the traditional idea that each episode of perception goes one or other of the five senses. Thus, the chemical senses, far from being peripheral to the concerns of the philosophy of perception, may hold important clues to the multisensory nature of perception in general. (shrink)

Is the sense of smell a source of aesthetic perception? Traditional philosophical aesthetics has centered on vision and audition but eliminated smell for its subjective and inherently affective character. This article dismantles the myth that olfaction is an unsophisticated sense. It makes a case for olfactory aesthetics by integrating recent insights in neuroscience with traditional expertise about flavor and fragrance assessment in perfumery and wine tasting. My analysis concerns the importance of observational refinement in aesthetic experience. I argue that (...) the active engagement with stimulus features in perceptual processing shapes the phenomenological content, so much so that the perceptual structure of trained smelling varies significantly from naive smelling. In a second step, I interpret the processes that determine such perceptual refinement in the context of neural decision-making processes, and I end with a positive outlook on how research in neuroscience can be used to benefit philosophical aesthetics. (shrink)

When we experience the world – see, hear, feel, taste, or smell things – we gain all sorts of knowledge about the things around us. And this knowledge figures heavily in our reasoning about the world – about what to think and do in response to it. But what is the nature of this knowledge? On one commonly held view, all knowledge is constituted by beliefs in propositions. But in this paper I argue against this view. I argue (...) that some knowledge is constituted, not by beliefs in propositions, but by awareness of properties and objects. To make my case, I focus on the role of visual perception in reasoning. I start by introducing a principle about the relationship between knowledge and reasoning, which says that to learn something new by reasoning, one must know the bases of one’s reasoning. Then I argue that in some cases of genuine, knowledge-conferring reasoning, the bases of our reasoning are not propositions that we believe; rather, they’re properties or objects that we see. Thus, I conclude that some such knowledge is non-propositional and is rather what some call “knowledge of things”. (shrink)

Affective experiences such as pains, pleasures, and emotions have affective phenomenology: they feel pleasant. This type of phenomenology has a loopy regulatory profile: it often motivates us to act a certain way, and these actions typically end up regulating our affective experiences back. For example, the pleasure you get by tasting your morning coffee motivates you to drink more of it, and this in turn results in you obtaining another pleasant gustatory experience. In this article, we argue that reflexive (...) imperativism is the only intentionalist account of affective phenomenology—probably, the only account at all—that is able to make sense of its loopy regulatory profile. (shrink)

Contextualism is the view that the extension of perspectival claims (involving e.g. predicates of personal taste or epistemic modals) depends on the context of utterance. Relativism is the view that the extension of perspectival claims depends on the context of assessment. Both views make concrete, empirically testable predictions about how such claims are used by ordinary English language speakers. This chapter surveys some of the recent empirical literature on the topic and presents four new experiments (total N=724). Consistent with (...) contextualism and inconsistent with relativism, the results suggest that the extension of perspectival claims depends on the context of utterance, not the context of assessment. (shrink)

Here is a puzzle about aesthetic education. In a variety of contexts, we commit significant time, energy, and resources to aesthetic education. We teach (and in many cases publicly subsidize) university courses and degrees that have aesthetic education as their primary aim; we also invest public resources into museums, including enrichment programs that are also designed to afford aesthetic education. It would seem that if our commitment to aesthetic education is rational, then aesthetic appreciation is something that can be done (...) better or worse. However, we also, in a variety of contexts (oddly enough, some of them being the same sorts of contexts that are designed to abet aesthetic education), act as if it is true that there is no disputing taste. We may try to persuade students to come around to particular judgments, but we do not penalize students for judging one way or another. The aim of this paper is to dissolve the apparent puzzle of aesthetic education by clarifying its aims and advancing a conception of it that deemphasizes the role of taste. I claim that, pace “the default view of aesthetic education” (as I shall call it), the primary purpose of aesthetic education is not to educate taste. It is, rather, to facilitate the development of certain perceptual-cognitive capacities so as to enhance aesthetic experience and improve aesthetic appreciation. Thus, I call the view of aesthetic education advanced here “a perceptual-cognitive model”. (shrink)

It is not uncommon for art historians and philosophers of art to deride the kinds of aesthetic experiences tourists seek out by characterizing them as bowing to the will of the herd, succumbing to peer pressure, or simply seeking out what is popular. Two charges, in particular, tend to be levelled against tourists. The first, which I call the motivation problem, contends that tourists are motivated to seek out aesthetic experiences for the wrong kinds of reasons. The second, which I (...) call the appreciation problem, maintains that tourist tastes are aesthetically uninformed and are thus the inauthentic product of aesthetic luck. But there is a better way of thinking about aesthetic tourism, one that can capture both the tourist’s motivations and the role of aesthetic luck. I argue that aesthetic tourists, like many experts, subscribe to the acquaintance principle, and that doing so generates aesthetic obligations to their practical identity. The tourist, in the end, is no more – and no less – a product of aesthetic luck than the expert connoisseur. (shrink)

I explore the question of whether Kant's theory in the _Critique of Judgment_ can account for judgments of taste regarding the ugly. While there has been much debate regarding this issue in recent decades, many scholars consider the harmonious free play of the faculties to be central to this question. Harmony between the imagination and understanding is stressed in a series of articles regarding pure judgments of taste of the ugly beginning in the mid-1990s and extending into the (...) 2000s. I investigate the status of harmony in relation to judgments of taste and assess whether harmony among these faculties is necessary to free play. In order to do so, I compare three cases and consider how they relate to cognitive activity: judgments of taste of the beautiful, sublime experience, and judgments of taste regarding works of genius. I argue that pure judgements of taste of the ugly are indeed possible by analyzing the cognitive activity produced in the aforementioned cases. These instances show that in Kant's system, cognitive harmony may not be necessary to free play. Rather, disharmony can also be produced by our aesthetic experience with the sublime, works of genius, and the ugly. I argue that in spite of the contrapurposiveness and disharmony that experience with the ugly spurs, it nonetheless can serve to further cognitive activity and quicken the mind, cultivate taste, and develop community, thus revealing a higher, and perhaps unexpected, purposiveness. (shrink)

When we cook, by meticulously following a recipe, or adding a personal twist to it, we sometimes care not only to (re-)produce a taste that we can enjoy, but also to give our food a certain aftertaste. This is not surprising, given that we ordinarily take aftertaste to be an important part of the gustatory experience as a whole, one which we seek out, and through which we evaluate what we eat and drink—at least in many cases. What (...) is surprising is that aftertastes, from a psychological point of view, seem to be analogous to afterimages, and thus have little or no epistemic import. In this paper we tackle this puzzle, and argue that we are right in treating aftertastes seriously. The moral is that both from a metaphysical and an epistemic point of view aftertastes should be categorized differently from afterimages. (shrink)

We all have different “tastes” for different tastes: some of us have a sweet tooth, while others prefer more subtle flavors; some crave spicy foods, while others cannot stand them. As Bourdieu and others have pointed out, these varying judgments seem to be more than mere preferences; often they reflect (and partially constitute) differences of class and culture. But I want to suggest that we’ve possibly overlooked another important source of these divergent gastronomic evaluations, other than hierarchy and caste: mere (...) interpersonal variability with respect to brute gustatory sensations. After all, we all know about “supertasters and cilantro-haters”; how likely is it, though, that the interpersonal heterogeneity of gustatory sensation is limited to this one dimension? In this paper, I make the case that we should take this possibility more seriously, and offer some thoughts on how we might start getting a better handle on the nature and scope of interpersonal gustatory variability—including by suggesting some diagnostics that can help us get at (what I call) some of the “non-flavor dimensions” of our gustatory experience. I conclude by developing some implications for the prospects of an “alimentary aesthetics”: namely, that—should our gustatory experiences turn out to be quite heterogeneous—then they do not seem well-suited to serve as the basic ingredients of bona fide aesthetic judgment about food and drink. (shrink)

Following one of Jacques Derrida’s early questions — namely, How is writing involved in speech? — this essay reconsiders the role of the tongue and the sense of taste in the oral phenomena of speaking and saying. The contact the tongue makes with the mouth or teeth is just as much a materialization of language as what is commonly called “writing.” The tongue acts as a pen and the mouth, as a blank page (or palimpsest). Mouthed writing is accompanied (...) by sense experiences. There are various selftastes to the tastes of speaking, the tastes of words, or, even, the tastes of thoughts. Freud’s notes on speaking in one’s sleep, telepathy, the mystic writing-pad, and memory are revisited and supplemented with the writings of Hélène Cixous on the taste of words, telephoning, saying-to-oneself, and forgetting. The auto-affection of tasting-oneself-speakwriting is offered as an alternative to the metaphysical presumptions Derrida implicates in Husserl’s understanding of speech based on the auto-affection of hearing-oneself-speak. As such, writing (haunted by the trace of death) and speech (invested with living presence) is now confronted with the selftastes of speakwriting with one’s stylangue in and on the mouth as the scene of writing (ever accompanied by tastes of life-death). (shrink)

The 'traditional philosophical prestige' of seeing and touching, as analyzed by Emmanuel Levinas, comes to dominate the qualities of the other three senses. An investigation of the roles of these prestigious senses, along with the resultant privileged sense-organs of the hand and the eye, within phenomenology, psychoanalysis, and gender- or queer-theory suggests that the part of the prestige of touch will have been related to its function in the phenomenality of feeling. Yet the sense of taste seems to be (...) as applicable, if not more so, to the phenomenal experience of selfhood based on feeling as theorized by Edmund Husserl and Jean-Luc Marion. The tongue, rather than the hand, is reconsidered as a sense-organ of touch in order to salvage the all but lost tang of the tangible. As such, the tongue and taste not only illuminate the shortcomings of binary gender theories based on either inner feeling or outer surface anatomy (or, either interior orifices or exterior appendages), but further discover a remarkable phenomenology of the body to be found in the writings of Hélène Cixous and Monique Wittig that moves beyond certain masculine tendencies lurking about the hand and observation (as described by Freud and Butler). The phenomenal experience of the other that yields either empathy (for Husserl), love/eros (for Marion), or hearing and heeding 'Thou shall not kill' (for Levinas) has much to learn from the orality of women's writing. The third body, as written by Cixous, can experience the self as selftaste (as considered by Derrida) and experiences the other as the taste of the other. It is, thereby, opened to a love or a justice (or an erotic justice) beyond the proclamation of Levinas that 'ethics is an optics' as well as any ethics as a mere haptics to be found in Husserl or Marion, where feeling seems always determined by the hand. (shrink)

Subjective judgments and judgments about subjects. A distinction regarding judgments of perception [English] It is well known the number of problems that arise from the distinction between "judgments of perception" and "judgments of experience" delivered in the Prolegomena. This article focuses on the impossibility of assigning truth value to judgments of perception since it seems counterintuitive to indicate that judgments such as "I am cold" or "sugar tastes sweet" cannot be true. To solve this difficulty, it is proposed here (...) to distinguish between true judgments of perception (true subjective judgments) and "judgments about subjects". The latter would be those that, despite referring in a certain sense to a subject, do so using categorical links and, therefore, are judgments of experience with claims of objective validity and with truth value. However, there is another reason for this distinction besides solving the difficulty posed. Above all, it is important to offer a key to understand the true nature of judgments of perception, showing the impossibility of understanding them as judgments that describe subjective mental states, and trying to distinguish the way in which we enunciate them from the merely subjective unit that, according to Kant, characterizes them. To carry out these objectives, we will first analyze the basis of the distinction between perception judgments and experience judgments; secondly, a distinction between subjective judgments and judgments about subjects is proposed and explained, while the role of truth in the empirical illusion is examined; and finally, we will underline the impossibility of formulating judgments (including those of perceptions) independently of any objective link. [Español] Es moneda común la diversidad de problemas que plantea la introducción de la distinción entre “juicios de percepción” y “juicios de experiencia” en los Prolegómenos. Este trabajo centra su atención en la imposibilidad de asignar valor de verdad a juicios de percepción —dada su carencia de pretensión de validez objetiva— pues parece contraintuitivo indicar que juicios como “tengo calor” o “el azúcar me sabe dulce” no pueden ser verdaderos. Para solucionar esta dificultad, se propone aquí distinguir entre los verdaderos juicios de percepción (verdaderos juicios subjetivos) y “juicios sobre sujetos”. Estos últimos serían aquellos que, a pesar de referirse en cierto sentido a un sujeto, lo hacen con enlaces categoriales y, por tanto, son en realidad juicios de experiencia con pretensión de validez objetiva y con valor de verdad. Sin embargo, a esta distinción subyace otro motivo además de solucionar la dificultad planteada. Interesa, sobre todo, ofrecer una clave para comprender la verdadera naturaleza de los juicios de percepción, mostrando la imposibilidad de entenderlos como juicios que describen estados mentales subjetivos, e intentando distinguir la forma en que los enunciamos de la unidad meramente subjetiva que, según Kant, los caracteriza. Para llevar a cabo estos objetivos se analiza, primero, el fundamento de la distinción entre juicios de percepción y juicios de experiencia; en segundo lugar, se propone y explica la distinción entre juicios subjetivos y juicios sobre sujetos, a la par que se examina el papel de la verdad en la ilusión empírica; y por último se subraya la imposibilidad de formular juicios (incluso de percepción) independientemente de cualquier enlace objetivo. (shrink)

Economic models describe individuals in terms of underlying characteristics, such as taste for some good, sympathy level for another player, time discount rate, risk attitude, and so on. In real life, such characteristics change through experiences: taste for Mozart changes through listening to it, sympathy for another player through observing his moves, and so on. Models typically ignore change, not just for simplicity but also because it is unclear how to incorporate change. I introduce a general axiomatic framework (...) for defining, analysing and comparing rival models of change. I show that seemingly basic postulates on modelling change together have strong implications, like irrelevance of the order in which someone has his experiences and ‘linearity’ of change. This is a step towards placing the modelling of change on solid axiomatic grounds and enabling non-arbitrary incorporation of change into economic models. (shrink)

In the Critique of the Power of Judgement, Kant claims that ‘the English taste in gardens or the baroque taste in furniture pushes the freedom of the imagination almost to the point of the grotesque’ (KU 5:242). This paper attempts to reconstruct Kant’s views on the grotesque as a theoretical foundation for the modern conception of the grotesque as a negative aesthetic category. The first section of the paper considers and ultimately rejects the interpretation of the grotesque as (...) a difficult kind of beauty. The second section contrasts the experience of the grotesque with similar experiences of sublimity and dreams. The third section examines the discord between faculties underlying the experience of the grotesque, defining the grotesque as a subclass of ugliness and addressing potential objections to its inclusion in Kant’s aesthetics. The fourth and final section briefly discusses the specificity of the grotesque as a subclass of ugliness. (shrink)

The title of this presentation encompasses three issues: (1) an enigmatic theme (the play of signs and signs of play); (2) a model of doing something, such as unraveling a puzzle; and (3) a methodology dealing with a probable case. Considering that the order of analysis runs in the opposite direction to the order of experience, my first task is to reverse the title. Then, its three parts become: (1) an eidetic and empirical conjunction that implies a taste (...) for evidence; (2) a rigorous model of analysis that implies a relationship between ontology (what I know) and epistemology (how I know); and (3) a case that brings an enigmatic theme. My title, based in the theme of our 42nd Annual Meeting, provided an experience peculiar to a non-native English speaker: how to interpret and use the word “play”. I really felt like I was a living exemplar of one of Professor Lanigan’s favorite examples: what dictionaries and encyclopedias say or do not say. Lanigan said that “dictionaries tell you how to use the words (forms, ideas) but not what word to use” and “encyclopedias tell you what facts to use (structure, experience), but not how to use them” (1992: 208–209). That was my situation with the word “play”. Webster’s dictionary gave me around fifty different meanings for the word “play”. Which one should I choose? I am sure that I made the best choice, as I will demonstrate throughout this presentation, organized around these three ideas that in an inverse order would be theory, method, and case. (shrink)

Assertions about appearances license inferences about the speaker's perceptual experience. For instance, if I assert, 'Tom looks like he's cooking', you will infer both that I am visually acquainted with Tom (what I call the "individual acquaintance inference"), and that I am visually acquainted with evidence that Tom is cooking (what I call the "evidential acquaintance inference"). By contrast, if I assert, 'It looks like Tom is cooking', only the latter inference is licensed. I develop an account of the (...) acquaintance inferences of appearance assertions building on two main previous lines of research: first, the copy raising literature, which has aimed to account for individual acquaintance inferences through the "perceptual source" semantic role; second, the subjectivity literature, which has focused on the status of acquaintance inferences with predicates of personal taste, but hasn't given much attention to the added complexities introduced by appearance language. I begin by developing what I take to be the most empirically-sound version of a perceptual source analysis. I then show how its insights can be maintained, while however taking anything about perception out of the truth conditions of appearance sentences. This, together with the assumption that appearance assertions express experiential attitudes, allows us to capture the acquaintance inferences of bare appearance assertions without making incorrect predictions about the behavior of appearance verbs in embedded environments. (shrink)

Compare your pain when immersing your hand in freezing water and your pleasure when you taste your favourite wine. The relationship seems obvious. Your pain experience is unpleasant, aversive, negative, and bad. Your experience of the wine is pleasant, attractive, positive, and good. Pain and pleasure are straightforwardly opposites. Or that, at any rate, can seem beyond doubt, and to leave little more to be said. But, in fact, it is not beyond doubt. And, true or false, (...) it leaves a good deal more to be said: about the nature of sensory affect; its relations to perception, motivation, and rationality; its value; and the mechanisms underlying it. Much is said about these matters in the contributions that follow. Here, in this introductory essay, we map the dialectical landscape and locate our contributors’ papers within it. (shrink)

I argue that Leibniz’s doctrine of sensory representation is intended in part to close an explanatory gap in his philosophical system. Unlike the twentieth century explanatory gap, which stretches between neural states on one side and phenomenal character on the other, Leibniz’s gap lies between experiences of secondary qualities like color and taste and the objects that cause them. The problem is that the precise arrangement and distribution of such experiences can never be given a full explanation. In response, (...) Leibniz appeals to representation. I argue that the sense in which Leibnizian sensations are representations is too weak to close his explanatory gap. In the end, he must appeal to the doctrine of the best possible world. (shrink)

In the recent literature on the issue, a number of commentators have argued that Kant’s aesthetic theory commits him to the position that nothing is ugly. For instance, in ‘Why Kant finds nothing ugly’, Shier argues that ‘within Kant’s aesthetics, there cannot be any negative judgments of taste’ (Shier (1998): 413). And in ‘Kant’s problems with ugliness’, Thomson claims that ‘Kant’s aesthetic theory precludes […] ugliness’ (Thomson (1992): 107). In other words, as it is presented in some of the (...) literature, Kant’s account of aesthetic judgment seems to preclude him from accounting for the possibility of ugliness. A number of reasons have been put forward to explain why there can be no ugliness for Kant. Some have to do with his account of experience in general. Others have to do with the very nature of the free play between imagination and understanding. Of course, the real source of the problem is that the Critique of Judgment does not actually discuss ugliness, so commentators are left with the task of filling in the gaps. This paper aims to argue that Kant’s account of aesthetic judgment commits him not only to the existence of the ugly, but to the distinction between two kinds of ugliness. To support this claim, I will start from the premise that if there is to be room for ugliness, it should be defined as the contrary of beauty. However, I will suggest that Kant’s account of beauty can be negated in two ways, one that gives rise to impure ugliness and the other to pure ugliness. I will examine them in turn, first by showing that impure ugliness is the contrary of beauty insofar as it contravenes our interests and produces a desire to dispose of it, whereas beauty is necessarily disinterested for Kant. In the second section, I will use Kant’s definition of judgments of pure beauty to carve a space for an account of pure ugliness. For, it should present all the characteristics that make it “pure” whilst replacing the characteristics that make it beautiful with the ones that make it ugly. On this basis, I will define pure ugliness as the disinterested displeasure caused by the experience of what I will call “foul play” between the imagination and the understanding. (shrink)

Sentences containing predicates of personal taste (for example, ‘tasty’, ‘funny’) and aesthetic predicates (for example, ‘beautiful’) give rise to an acquaintance inference: They convey the information that speakers have first-hand experience with the object of predication and they can only be uttered appropriately if that is the case. This is surprisingly hard to explain. I will concentrate on aesthetic predicates, and firstly criticize previous attempts to explain the acquaintance phenomena. Second, I will suggest an explanation that rests on (...) a speech act theoretical version of hybrid expressivism, according to which, in uttering ‘X is beautiful’ speakers perform two illocutionary acts simultaneously: an expressive and an assertive one. I will spell out this suggestion in detail and defend it against objections. Considering puzzles related to the acquaintance inference will lead to a new argument for a promising version of hybrid expressivism in meta-aesthetics. (shrink)

The term “consciousness” is very often, though not always, interchangeable with the term “awareness,” which is more colloquial to many ears. We say things like “are you aware that ...” often. Sometimes we say “have you noticed that ... ?” to express similar thoughts, and this indicates a close connection between consciousness (awareness) and attention (noticing), which we will come back to later in this chapter. Ned Block, one of the key figures in this area, provides a useful characterization of (...) what he calls “phenomenal consciousness.” For him, phenomenal consciousness is experience. Experience covers perceptions, e.g., when we see, hear, touch, smell, and taste, we typically have experiences, such as seeing colors and smelling odors. It also covers bodily awareness, e.g., we typically have experiences of our own bodily temperature and positions of limbs. Consciousness is primarily about this experiential aspect of our mental lives. (shrink)

György Alajos Szerdahely, the first professor of aesthetics in Pest, publishes his Aesthetica in 1778, a work, written in Latin, that not only engages with the eclectic university aesthetics of late-18th-century Germany and Central Europe, but also marks the beginning of the Hungarian aesthetic tradition. Szerdahely proposes aesthetics as the doctrine of taste, a philosophical discipline that can polish our manners and social conduct through a sensual-affective Bildung offered by art experiences. Highlighting his sources in both British criticism and (...) German aesthetics, the paper traces the development of Szerdahely's concept of beauty from beauty as form (uniformity amidst variety) to beauty in motion (sensibility). Initially, Szerdahely argues for unity and variety as the two main constituents of a beautiful object, evoking disinterested contemplation, but he then turns to sensibility as the third necessary condition of beauty: an object becomes aesthetically beautiful only if it has the power to strike the senses (Lux) and stir the affections (Vivacitas), enlivening the whole embodied person. The paper argues that this third principle of sensibility proves to be more emphatic than the first two, leading to (1) the aesthetic conception of beauty as an experiential quality; but more interestingly to (2) the incorporation of the element of self-preservation and self-love into aesthetic experience. The reason for the latter development lies in Szerdahely’s anthropological argument, which traces back every affection to the instantaneous apprehension of good or evil concerning ourselves, implying desire (Adpetitus) or aversion (Auersi) in our reactions. (shrink)