Results for 'aesthetic'

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  1. Aesthetic Reasons.McGonigal Andrew - 2018 - In Daniel Star, The Oxford Handbook of Reasons and Normativity. New York, NY, United States of America: Oxford University Press. pp. 908–935.
    Aesthetic reasons are reasons to do and think various things. For example, it makes sense to wonder if a tree stump on the lawn was left there for environmental rather than aesthetic reasons, or for no reason at all. Aesthetic considerations of this kind are often contrasted with non-aesthetic reasons—such as moral or epistemic reasons. For example, they seem connected to pleasure-in-experience in a distinctive way that differs from paradigmatic moral reasons. Relatedly, the authority of (...) reasons has often been thought to involve less of an “external demand” upon us than in the other cases. In this chapter, I suggest that such distinctiveness and modesty coheres well with an anti-realist treatment that views them as non-objective in nature. I then go on to consider an alternative, more robustly realist conception of aesthetic reasons. (shrink)
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  2. Aesthetic judgements and motivation.Alfred Archer - 2017 - Inquiry: An Interdisciplinary Journal of Philosophy 60 (6):1-22.
    Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from non-cognitivism in metaethics. One argument that is used to support metaethical non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting non-cognitivism. A tempting option, then, for (...)
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  3. Aesthetic Value and the Practice of Aesthetic Valuing.Nick Riggle - 2024 - The Philosophical Review 133 (2):113–149.
    A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, (...)
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  4. Social Aesthetic Goods and Aesthetic Alienation.Anthony Cross - 2024 - Philosophers' Imprint 24.
    The aesthetic domain is a social one. We coordinate our individual acts of creation, appreciation, and performance with those of others in the context of social aesthetic practices. More strongly, many of the richest goods of our aesthetic lives are constitutively social; their value lies in the fact that individuals are engaged in joint aesthetic agency, participating in cooperative and collaborative project that outstrips what can be realized alone. I provide an account of nature and value (...)
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  5. Aesthetic Hedonism and Its Critics.Servaas Van der Berg - 2020 - Philosophy Compass 15 (1):e12645.
    This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or (...)
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  6. Aesthetic Non-Naturalism.Daan Evers - 2024 - British Journal of Aesthetics 64 (4):505-520.
    Aesthetic non-naturalism is the view that there are objective aesthetic truths that hold in virtue of sui generis facts. This view is seldom explicitly endorsed in philosophical aesthetics. I argue that many aestheticians should treat it as the view to beat, since (a) their commitments favour aesthetic realism, (b) non-naturalistic forms of aesthetic realism are particularly promising and (c) non-naturalists have reasonable answers to four important objections.
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  7. Aesthetic Rationality.Keren Gorodeisky & Eric Marcus - 2018 - Journal of Philosophy 115 (3):113-140.
    We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is (...)
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  8. The Aesthetic Self. The Importance of Aesthetic Taste in Music and Art for Our Perceived Identity.Joerg Fingerhut, Javier Gomez-Lavin, Claudia Winklmayr & Jesse J. Prinz - 2021 - Frontiers in Psychology 11:577703.
    To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact (...)
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  9. Aesthetic Reasons and the Demands They (Do Not) Make.Daniel Whiting - 2021 - Philosophical Quarterly 71 (2):407-427.
    What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of (...)
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  10. (1 other version)Aesthetic Supererogation.Alfred Archer & Lauren Ware - 2017 - Estetika: The European Journal of Aesthetics 54 (1):102-116.
    Many aestheticians and ethicists are interested in the similarities and connections between aesthetics and ethics (Nussbaum 1990; Foot 2002; Gaut 2007). One way in which some have suggested the two domains are different is that in ethics there exist obligations while in aesthetics there do not (Hampshire 1954). However, Marcia Muelder Eaton has argued that there is good reason to think that aesthetic obligations do exist (Eaton 2008). We will explore the nature of these obligations by asking whether acts (...)
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  11. Aesthetic properties.Sonia Sedivy - 2024 - In A. R. J. Fisher & Anna-Sofia Maurin, The Routledge Handbook of Properties. London: Routledge.
    Aesthetic properties figure prominently in our daily lives, our conversations and many actions we take. Yet theoretical disagreement prevails over their nature, their variety, their epistemic and metaphysical status. This overview highlights the heterogeneity of aesthetic properties and examines repercussions for explanation. Aesthetic properties belong to natural objects or scenes, to artworks in any medium, to artefacts and built environments across historical eras; and they draw a wide variety of responses such as our perceptions, emotions or imaginative (...)
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  12. Aesthetic Testimony and Aesthetic Authenticity.Felix Bräuer - 2023 - British Journal of Aesthetics 63 (3):395–416.
    Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on (...) testimony seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)
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  13. Aesthetic Evaluation and First-Hand Experience.Nils Franzén - 2018 - Australasian Journal of Philosophy 96 (4):669-682.
    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 (...)
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  14. Adorno's Aesthetic Theory: The Redemption of Illusion.Lambert Zuidervaart - 1993 - MIT Press.
    Theodor Adorno's Aesthetic Theory is a vast labyrinth that anyone interested in modern aesthetic theory must at some time enter. Because of his immense difficulty of the same order as Derrida - Adorno's reception has been slowed by the lack of a comprehensive and comprehensible account of the intentions of his aesthetics. This is the first book to put Aesthetic Theory into context and outline the main ideas and relevant debates, offering readers a valuable guide through this (...)
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  15. Aesthetic Adjectives.Louise McNally & Isidora Stojanovic - 2017 - In James O. Young, The Semantics of Aesthetic Judgements. Oxford, GB: Oxford University Press UK.
    Among semanticists and philosophers of language, there has been a recent outburst of interest in predicates such as delicious, called predicates of personal taste (PPTs, e.g. Lasersohn 2005). Somewhat surprisingly, the question of whether or how we can distinguish aesthetic predicates from PPTs has hardly been addressed at all in this recent work. It is precisely this question that we address. We investigate linguistic criteria that we argue can be used to delineate the class of specifically aesthetic adjectives. (...)
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  16. Shared Aesthetic Experience, Community, and Meaningfulness.Anthony Cross - forthcoming - Philosophical Topics.
    Aesthetic communities offer us opportunities for collective, communal, and value-disclosing shared aesthetic experiences. This paper develops an account of shared aesthetic experiences and provides an answer to the question of their significance: when they occur within aesthetic communities, their distinctive phenomenology is a powerful resource for creating a sense that our lives are aesthetically meaningful.
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  17. Against aesthetic judgments.Bence Nanay - 2018 - In Jennifer A. McMahon, Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. New York, USA: Routledge.
    Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us (...)
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  18. Aesthetic Commitments and Aesthetic Obligations.Anthony Cross - 2022 - Ergo: An Open Access Journal of Philosophy 8 (38):402-422.
    Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp (...)
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  19. Aesthetic Blame.Robbie Kubala - 2024 - Journal of the American Philosophical Association 10 (4).
    One influential tradition holds that blame is a moral attitude: blame is appropriate only when the target of blame has violated a moral norm without excuse or justification. Against this, some have recently argued that agents can be blameworthy for their violation of epistemic norms even when no moral norms are thereby violated. This paper defends the appropriateness of aesthetic blame: agents can be blameworthy for their violation of aesthetic norms as such, where aesthetic norms are the (...)
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  20. The Aesthetic Experience of Artworks and Everyday Scenes.Bence Nanay - 2018 - The Monist 101 (1):71-82.
    Some of our aesthetic experiences are of artworks. Some others are of everyday scenes. The question I examine in this paper is about the relation between these two different kinds of aesthetic experience. I argue that the experience of artworks can dispose us to experience everyday scenes in an aesthetic manner both short-term and long-term. Finally, I examine what constraints this phenomenon puts on different accounts of aesthetic experience.
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  21. Aesthetics and Predictive Processing: Grounds and Prospects of a Fruitful Encounter.Jacopo Frascaroli, Helmut Leder, Elvira Brattico & Sander Van de Cruys - 2024 - Philosophical Transactions of the Royal Society B 379 (20220410).
    In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as important (...)
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  22. Aesthetic Higher-Order Evidence for Subjectivists.Luis Oliveira & Chris Mag Uidhir - 2023 - British Journal of Aesthetics 63 (2):235-249.
    Aesthetic subjectivism takes the truth of aesthetic judgments to be relative to the individual making that judgment. Despite widespread suspicion, however, this does not mean that one cannot be wrong about such judgments. Accordingly, this does not mean that one cannot gain higher-order evidence of error and fallibility that bears on the rationality of the aesthetic judgment in question. In this paper, we explain and explore these issues in some detail.
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  23. Aesthetic Appreciation of Nature and the Global Environmental Crisis.Jukka Mikkonen - 2022 - Environmental Values 31 (1):47-66.
    Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The ‘everything change’, as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the ‘scientific’ approaches to nature appreciation which base aesthetic judgment on scientific knowledge and the (...)
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  24. Expressing aesthetic judgments in context.Isidora Stojanovic - 2016 - Inquiry: An Interdisciplinary Journal of Philosophy 59 (6):663-685.
    Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.
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  25. Aesthetic values in science.Milena Ivanova - 2017 - Philosophy Compass 12 (10):e12433.
    Scientists often use aesthetic values in the evaluation and choice of theories. Aesthetic values are not only regarded as leading to practically more useful theories but are often taken to stand in a special epistemic relation to the truth of a theory such that the aesthetic merit of a theory is evidence of its truth. This paper explores what aesthetic considerations influence scientists' reasoning, how such aesthetic values relate to the utility of a scientific theory, (...)
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  26. Aesthetic concepts, perceptual learning, and linguistic enculturation: Considerations from Wittgenstein, language, and music.Adam M. Croom - 2012 - Integrative Psychological and Behavioral Science 46:90-117.
    Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively (...)
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  27. The Aesthetic Enkratic Principle.Irene Martínez Marín - 2023 - British Journal of Aesthetics 63 (2):251–268.
    There is a dimension of rationality, known as structural rationality, according to which a paradigmatic example of what it means to be rational is not to be akratic. Although some philosophers claim that aesthetics falls within the scope of rationality, a non-akrasia constraint prohibiting certain combinations of attitudes is yet to be developed in this domain. This essay is concerned with the question of whether such a requirement is plausible and, if so, whether it is an actual requirement of (...) rationality. Ultimately, this paper defends the view that aesthetics is no different from other domains in that it requires coherence between a subject’s mental states (in the aesthetic case, between what is judged and what is aesthetically liked). (shrink)
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  28. The aesthetic field.Arnold Berleant - 1970 - Springfield, Ill.,: Thomas.
    The Aesthetic Field develops an account of aesthetic experience that distinguishes four mutually interacting factors: the creative factor represented primarily by the artist; the appreciative one by the viewer, listener, or reader; the objective factor by the art object, which is the focus of the experience; and the performative by the activator of the aesthetic occurrence. Each of these factors both affects all the others and is in turn influenced by them, so none can be adequately considered (...)
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  29. The aesthetics of drugs.C. Thi Nguyen - 2024 - In Rob Lovering, The Palgrave Handbook of Philosophy and Psychoactive Drug Use. New York: Palgrave Macmillan.
    The aesthetics of tea, in some practices, seems to focus on appreciating the mental effects of tea — the altered states of mind. Wine aesthetics, on the other hand, seems to actively exclude any inebriative effects. Wine experts are supposed to spit, in order to avoid inebriation when they judge wine. Why? The answer, I suggest, lies deep in several key suppositions in the traditional model of aesthetic experience: that aesthetic experience needs to be accurate of its object, (...)
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  30. Aesthetic Appreciation of Silence.Erik Anderson - 2020 - Contemporary Aesthetics 18.
    We enjoy sounds. What about silence: the absence of sound? Certainly not all, but surely many of us seek out, attend to, and appreciate silence. But, if nothing is there, then there is nothing to possess aesthetic qualities that might engage aesthetic interest or reward aesthetic attention. This is at least puzzling, perhaps even paradoxical. In this paper, I attempt to dispel the sense of paradox and provide a way to understand aesthetic appreciation of silence. I (...)
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  31. Aesthetic Supervenience versus Aesthetic Grounding.Jiri Benovsky - 2012 - Estetika: The European Journal of Aesthetics 49 (2):166-178.
    The claim that having aesthetic properties supervenes on having non-aesthetic properties has been widely discussed and, in various ways, defended. In this article, I aim to demonstrate that even if it is sometimes true that a supervenience relation holds between aesthetic properties and ‘subvenient’ non-aesthetic ones, it is not the interesting relation in the neighbourhood. As we shall see, a richer, asymmetric, and irreflexive relation is required, and I shall defend the claim that the increasingly popular (...)
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  32. Aesthetic Dissonance. On Behavior, Values, and Experience through New Media.Adrian Mróz - 2019 - Hybris 47:1-21.
    Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and (...)
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  33.  47
    An Aesthetic Argument for Weak Transhumanism.Mark Bailey - manuscript
    This paper presents a Kantian aesthetic argument in defense of weak transhumanism, contending that human fragility, finitude, and imperfection are not shortcomings to be transcended but essential conditions of beauty and meaning. Against the backdrop of accelerating technological advancement—particularly developments in artificial intelligence, brain-computer interfaces, and radical enhancement—the paper challenges the assumptions of strong transhumanism, which seeks to overcome the limits of the human condition. Drawing on Immanuel Kant’s theory of aesthetic judgment and the sublime, it argues that (...)
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  34. Aesthetic perception and the puzzle of training.Madeleine Ransom - 2022 - Synthese 200 (2):1-25.
    While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s (...)
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  35. Aesthetics in Biodiversity Conservation.Jukka Mikkonen & Kaisa J. Raatikainen - 2024 - Journal of Aesthetics and Art Criticism 82 (2):174-190.
    Biodiversity loss is an immense ecological crisis of our time. But while “biodiversity” has become a buzzword in media and policy, conservationists have found it difficult to build a common understanding on the nature and severity of biodiversity loss and the means to tackle it. Perhaps surprisingly, many biologists and philosophers have proposed that biodiversity might be best defended with reference to its aesthetic value. This article explores whether aesthetic values could provide strong support for biodiversity conservation. By (...)
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  36. The Aesthetic Value of the World.Tom Cochrane - 2021 - Oxford, UK: Oxford University Press.
    This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are (...)
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  37. Aesthetic Adjectives: Experimental Semantics and Context-Sensitivity.Shen-yi Liao & Aaron Meskin - 2017 - Philosophy and Phenomenological Research 94 (2):371–398.
    One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic (...)
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  38. The aesthetics of coming to know someone.James H. P. Lewis - 2023 - Philosophical Studies (5-6):1-16.
    This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the idea that (...)
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  39. Aesthetic Properties, History and Perception.Sonia Sedivy - 2018 - British Journal of Aesthetics 58 (4):345-362.
    If artworks and their aesthetic properties stand in constitutive relationships to historical context and circumstances, so that some understanding of relevant facts is involved in responding to a work, what becomes of the intuitive view that we see artworks and at least some of their aesthetic properties? This question is raised by arguments in both aesthetics and art history for the historical nature of works of art. The paper argues that the answer needs to take philosophy of perception (...)
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  40. Aesthetic Properties, Mind-Independence, and Companions in Guilt.Daan Evers - 2020 - In Christopher Cowie & Rach Cosker-Rowland, Companions in Guilt: Arguments in Metaethics. Routledge.
    I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.
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  41. Evolutionary Aesthetics.Luca Marchetti - 2024 - International Lexicon of Aesthetics.
    Evolutionary aesthetics (EA) investigates the origins and evolution of aesthetic preferences and artistic behaviors, along with the underlying capacities that support these preferences and behaviors. EA is a multidisciplinary approach that intersects various disciplines – e.g. evolutionary psychology, biology, neurosciences, art history, archeology, anthropology, philosophical aesthetics – providing a comprehensive framework for understanding the deep-rooted biological and evolutionary underpinnings of human aesthetic preferences and artistic expressions. Central to EA, in fact, is the exploration of when, how and why (...)
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  42. The aesthetic stance - on the conditions and consequences of becoming a beholder.Maria Brincker - 2014 - In Alfonsina Scarinzi, Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Dordrecht: Springer. pp. 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in (...)
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  43. Aesthetic attention.Bence Nanay - 2014 - Journal of Consciousness Studies 22 (5-6):96-118.
    The aim of this paper is to give a new account of the way we exercise our attention in some paradigmatic cases of aesthetic experience. I treat aesthetic experience as a specific kind of experience and like in the case of other kinds of experiences, attention plays an important role in determining its phenomenal character. I argue that an important feature of at least some of our aesthetic experiences is that we exercise our attention in a specific, (...)
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  44. Aesthetic Internalism and two Normative Puzzles.Caj Strandberg - 2016 - Studi di Estetica 6:23-70.
    One of the most discussed views in metaethics is Moral Internalism, according to which there is a conceptually necessary connection between moral judgments and motivation to act. Moral Internalism is regarded to yield the prime argument against Moral Cognitivism and for Moral Non-Cognitivism. In this paper, I investigate the significance of the corresponding claim in metaaesthetics. I pursue two lines of argument. First, I argue that Aesthetic Internalism – the view that there is a conceptually necessary connection between (...) value judgments and motivation to act – is mistaken. It follows, I maintain, that the most important argument against Aesthetic Cognitivism, and for Aesthetic Non-Cognitivism, is flawed, and that the latter view presumably is incorrect. Second, I argue that considerations with regard to Aesthetic Internalism give rise to two normative puzzles with relevance for the normative domain in general. The most plausible solution to these puzzles entails, I maintain, that we need to revise the established view about normative judgments. Moreover, I propose a novel externalist account of aesthetic value judgments. (shrink)
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  45. Folk Aesthetic Intersubjectivism.Giulio Pietroiusti - manuscript
    Cova et al. (2019) have tested people's beliefs on aesthetic disagreements using experimental studies based on questionnaires. Since the vast majority of participants chose answers that are incompatible with intersubjectivism, they conclude that the traditional approach in aesthetics is ”fundamentally misguided”. Contesi et al. (2024) claim that Cova et al. entirely misunderstand the relevance of their experimental findings to the aesthetics literature: those results actually ”confirm what aestheticians predicted all along”. According to Contesi et al., while aestheticians generally assume (...)
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  46. The Aesthetic Value of Literary Works in Roman Ingarden’s Philosophy.Hicham Jakha - 2022 - Kultura I Wartości (32):165-185.
    In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and (...)
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  47. Aesthetic Education: A Perceptual-Cognitive Model.Ted Nannicelli - 2024 - European Journal of Analytic Philosophy 20 (2):283-305.
    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 (...)
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  48. Aesthetic Properties as Powers.Vid Simoniti - 2017 - European Journal of Philosophy 25 (4):1434-1453.
    This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a (...)
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  49. Aesthetics, experience, and discrimination.Robert Hopkins - 2005 - Journal of Aesthetics and Art Criticism 63 (2):119–133.
    Can indistinguishable objects differ aesthetically? Manifestationism answers ‘no’ on the grounds that (i) aesthetically significant features of an object must show up in our experience of it; and (ii) a feature—aesthetic or not—figures in our experience only if we can discriminate its presence. Goodman’s response to Manifestationism has been much discussed, but little understood. I explain and reject it. I then explore an alternative. Doubles can differ aesthetically provided, first, it is possible to experience them differently; and, second, those (...)
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  50. Aesthetic Benevolence.Daniel Telech - 2025 - Ratio 38 (1):48-55.
    While non-moral varieties of goodness (e.g., aesthetic, epistemic, prudential) are readily recognized by philosophers and non-philosophers alike, the philosophical literature generally suggests that benevolence is a uniquely moral phenomenon. I argue, however, that our interpersonal practices display a range of instances of aesthetic benevolence, and that this observation stands to enrich our understanding of the relation between moral psychology, aesthetic experience, and aesthetic community. I illustrate this point via discussion of the evaluative attitude that is the (...)
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