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 evaluations. And despite the wealth of attention paid to aesthetic adjectives by philosophical aestheticians, they have paid little attention to contemporary linguistic theories of adjectives. We take our work to be a first step in remedying these lacunae. In this paper, we present four experiments that examine one aspect of how aesthetic adjectives ordinarily function: the context-sensitivity of their application standards. Our results present a prima facie empirical challenge to a common distinction between relative and absolute gradable adjectives because aesthetic adjectives are found to behave differently from both. Our results thus also constitute a prima facie vindication of some philosophical aestheticians’ contention that aesthetic adjectives constitute a particularly interesting segment of natural language, even if the boundaries of this segment might turn out to be different from what they had in mind. (shrink)

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

The goal of this short paper is to show that esthetic adjectives—exemplified by “beautiful” and “elegant”—do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.

This paper demarcates a theoretically interesting class of "evaluational adjectives." This class includes predicates expressing various kinds of normative and epistemic evaluation, such as predicates of personal taste, aesthetic adjectives, moral adjectives, and epistemic adjectives, among others. Evaluational adjectives are distinguished, empirically, in exhibiting phenomena such as discourse-oriented use, felicitous embedding under the attitude verb `find', and sorites-susceptibility in the comparative form. A unified degree-based semantics is developed: What distinguishes evaluational adjectives, semantically, is (...) that they denote context-dependent measure functions ("evaluational perspectives")—context-dependent mappings to degrees of taste, beauty, probability, etc., depending on the adjective. This perspective-sensitivity characterizing the class of evaluational adjectives cannot be assimilated to vagueness, sensitivity to an experiencer argument, or multidimensionality; and it cannot be demarcated in terms of pretheoretic notions of subjectivity, common in the literature. I propose that certain diagnostics for "subjective" expressions be analyzed instead in terms of a precisely specified kind of discourse-oriented use of context-sensitive language. I close by applying the account to `find x PRED' ascriptions. (shrink)

In this paper I consider Corneliu Porumboiu’s ‘Police, Adjective’ (Romania, 2009) as an instance of a puzzling work of art. Part of what is puzzling about it is the range of extreme responses to it, both positive and negative. I make sense of this puzzlement and try to alleviate it, while considering the film alongside Ludwig Wittgenstein’s arguably puzzling “Lectures on Aesthetics” (from 1938). I use each work to illuminate possible understandings of the other. The upshot is that it is (...) is plausible to regard both as engaged, in part, in preparing us to make sense both of themselves, and then also of other works. (shrink)

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.

In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and (...) imagination, as well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less (...) counterintuitive to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

In theoretical work about the language of personal taste, the canonical example is the simple predicate of personal taste, 'tasty'. We can also express the same positive gustatory evaluation with the complex expression, 'taste good'. But there is a challenge for an analysis of 'taste good': While it can be used equivalently with 'tasty', it need not be (for instance, imagine it used by someone who can identify good wines by taste but doesn't enjoy them). This kind of two-faced behavior (...) systematically arises with complex sensory-evaluative predicates, including those with other appearance verbs, such as 'look splendid' and 'sound nice'. I examine two strategies for capturing these different uses: one that posits an ambiguity in appearance verbs, and one that does not. The former is in line with an approach to 'look'-statements prominent in work in philosophy of perception, and I consider how the motivation given in that tradition carries over to the present context. I then show how the data used to support the verbal ambiguity approach can equally be captured on the second strategy, which appeals only to independently-motivated flexibility in adjective meaning. I close by discussing some considerations that are relevant for choosing between the two options. (shrink)

Pseudo-profound language is a stylistic means in many different contexts, like advertising, politics, economics, or even science. Contemporary visual art is notoriously known for its variant: artspeak. We develop a syntactical analysis and show how artspeak is constructed. We point out that it is “evocative” bullshit in that it aims at contextualizing art with traditional art myths (i.e., artists are, among other adjectives, autonomous, critical, or free). Furthermore, we argue that artspeak should be regarded as a particular type of (...) bullshit as it features a unique relation to truth. (shrink)

Multidimensional adjectives are ubiquitous in natural language. An adjective F is multidimensional just in case whether F applies to an object or pair of objects depends on how those objects stand with respect to multiple underlying dimensions of F-ness. Developing a semantics for multidimensional adjectives requires us to address the problem of dimensional aggregation: how do the application conditions of an adjective F in its positive and comparative forms depend on its underlying dimensions? Here we develop a semantics (...) for multidimensional adjectives that incorporates aggregation functions. We then explore an analogy between dimensional aggregation and preference aggregation, bringing results from social choice theory to bear on the number and kind of aggregation functions that are admissible in a context. These results suggest that, for any given adjective, there will often be multiple aggregation functions admissible, meaning that multidimensional comparatives are often vague. (shrink)

Are color adjectives ("red", "green", etc.) relative adjectives or absolute adjectives? Existing theories of the meaning of color adjectives attempt to answer that question using informal ("armchair") judgments. The informal judgments of theorists conflict: it has been proposed that color adjectives are absolute with standards anchored at the minimum degree on the scale, that they are absolute but have near-midpoint standards, and that they are relative. In this paper we report two experiments, one based on (...) entailment patterns and one based on presupposition accommodation, that investigate the meaning of scalar adjectives. We find evidence confirming the existence of subgroups of the population who operate with different standards for color adjectives. The evidence of interpersonal variation in where standards are located on the relevant scale and how those standards can be adjusted indicates that the existing theories of the meaning of color adjectives are at best only partially correct. We also find evidence that paradigmatic relative adjectives ("tall", "wide") behave in ways that are not predicted by the standard theory of scalar adjectives. We discuss several different possible explanations for this unexpected behavior. We conclude by discussing the relevance of our findings for philosophical debates about the nature and extent of semantically encoded context sensitivity in which color adjectives have played a key role. (shrink)

It is a consequence of both Kennedy and McNally’s typology of the scale structures of gradable adjectives and Kennedy’s :1–45, 2007) economy principle that an object is clean just in case its degree of cleanness is maximal. So they jointly predict that the sentence ‘Both towels are clean, but the red one is cleaner than the blue one’ :259–288, 2004) is a contradiction. Surely, one can account for the sentence’s assertability by saying that the first instance of ‘clean’ is (...) used loosely: since ‘clean’ pragmatically conveys the property of being close to maximally clean rather than the property of being maximally clean, the sentence as a whole conveys a consistent proposition. I challenge this semantics–pragmatics package by considering the sentence ‘Mary believes that both towels are clean but that the red one is cleaner than the blue one’. We can certainly use this sentence to attribute a coherent belief to Mary: One of its readings says that she believes that the towels are clean by a contextually salient standard ; the other says that she believes that the towels are clean by her own standard. I argue that Kennedy’s semantics–pragmatics package can’t deliver those readings, and propose that we drop the economy principle and account for those readings semantically by assigning to the belief sentence two distinct truth conditions. I consider two ways to deliver those truth-conditions. The first one posits world-variables in the sentence’s logical form and analyzes those truth-conditions as resulting from two binding possibilities of those variables. The second one proposes that the threshold function introduced by the phonologically null morpheme pos is shiftable in belief contexts. (shrink)

This paper traces the philosophical concept of life prior to Kant and uses this to contextualize his account of aesthetic judgment as a form of life. It argues on this basis that, according to Kant, the form that taste claims for itself, as explicated in its four moments, results in a demand being placed on the transcendental philosopher to admit the idea of an ultimate subjective basis of all cognitive activities in human beings, that is, a shared principle and (...) form of cognititive life htat is uniquely human. (shrink)

Philosophers have predominantly regarded morality and aesthetics judgments as fundamentally different. However, whether this claim is empirically founded has remained unclear. In a novel task, we measured brain activity of participants judging the aesthetic beauty of artwork or the moral goodness of actions depicted. To control for the content of judgments, participants assessed the age of the artworks and the speed of depicted actions. Univariate analyses revealed whole-brain corrected, content-controlled common activation for aesthetics and morality judgments in frontopolar, dorsomedial (...) and ventrolateral prefrontal cortex. Temporoparietal cortex showed activation specific for morality judgments, occipital cortex for aesthetics judgments. Multivariate analyses revealed both common and distinct whole-brain corrected representations for morality and aesthetics judgments in temporoparietal and prefrontal regions. Overall, neural commonalities are more pronounced than predominant philosophical views would predict. They are compatible with minority accounts that stress commonalities between aesthetics and morality judgments, such as sentimentalism and a valuation framework. (shrink)

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 (...) aesthetic preferences and artistic behaviors originated in human history, as well as understanding whether these behaviors are evolutionary adaptations, by-products of evolutionary processes, or nonbiological cultural products (Killin 2021; Richards 2022). (shrink)

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

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

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

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

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

A long-standing tension in semantic theory concerns the reconciliation of positive gradable adjective (GA) ascriptions and comparative GA ascriptions. Vagueness-based ap- proaches derive the comparative from the positive, and face non-trivial challenges with incommensurability and non-GA comparatives. Classic degree-based approaches effectively derive the positive from the comparative, out of sync with the direction of evidence from morphology, and create some difficulties in accounting for GA scale-mates with differing thresholds (e.g., cold ∼ warm ∼ hot). We propose a new reconciliation that (...) capitalizes on recent proposals analyzing GAs as predicates of states. On our account, GAs lexically involve both a threshold property and a background state structure. Positive occurrences of GAs make use of the threshold property, while comparative occurrences make use of degrees representing elements of the background structure. Our approach preserves the virtues of classic degree-based approaches while offering a natural account of scale-mates, and without appeal to covert morphemes like POS or related devices. As we show, it is possible to inject our solution back into the classic degree-based approach, but we find reasons to prefer our states-based account. (shrink)

We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is (...) due to the fact that aesthetic judgment is a sensory-affective disclosure of, and responsiveness to, merit: it is a feeling that presents an object, and is responsive to it, as worthy of being liked. Aesthetic judgment is thus shown to be, on the hand, first personal and non-transferable; and, on the other hand, a presentation of reality. We thereby capture what is right in both subjectivist and objectivist conceptions of aesthetic judgment. (shrink)

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

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

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.

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.

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 (...) meaningful attachments to symbols in relation to our retentional apparatuses, technology and memory. Such tension can be thought of as a dissonance between overlapping domains of social life, private and public. New Media is a reflection of aesthetic dissonance, an experience such as being bored and entertained at the same time, between antagonistic experiences, values, and behavior. Moreover, new media is at once a medium of customizing aesthetic experience individually as well as the threat and practice of prioritizing calculability and modeling of consumer behavior in favor of capitalistic effectiveness, which results in the simultaneous categorization of an individual as a data point, putting those who do not fit an algorithm’s premises at a disadvantage. (shrink)

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

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.

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 (...) distal versions of practical values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

This paper defends the view that common nouns have a dual semantic structure that includes extension-determining and non-extension-determining components. I argue that the non-extension-determining components are part of linguistic meaning because they play a key compositional role in certain constructions, especially in privative noun phrases such as "fake gun" and "counterfeit document". Furthermore, I show that if we modify the compositional interpretation rules in certain simple ways, this dual content account of noun phrase modification can be implemented in a type-driven (...) formal semantic framework. In addition, I also argue against traditional accounts of privative noun phrases which can be paired with the assumption that nouns do not have a dual semantic structure. At the most general level, this paper presents a proposal for how we can begin to integrate a psychologically realistic account of lexical semantics with a linguistically plausible compositional semantic framework. (shrink)

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, (...) and that it needs to be inseparable from the particular details of its object. But, I argue, that model is not really incompatible with an aesthetics of drugs. The problematic presupposition is that the aesthetics of drugs is either an aesthetics of the world, as experienced while drugged, or an aesthetics of the physical substance itself. The aesthetics of some drugs, such as LSD, will turn out, instead, to be a self-reflective aesthetics — one in which the primary object of appreciation is the alteration of one’s own cognitive faculties. This can be valuable as a humbling aesthetic vision, of one’s own cognitive fragility. But the aesthetics of gastronomical drugs, such as wine and tea, will turn out to be even more complicated. Gastronomical drugs demand that we bridge the inwardly-focused aesthetics of inebriation and an outwardly focused gastronomical aesthetics. They open the door to the possibility of an aesthetic reconciliation between our capacity to get onto the world, and our fears about the fragility of that capacity. (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)

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

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

What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are (...) explained by norms internal to a practice. Practice-internal norms, however, cannot settle the distinct question of which practices we have reason to opt into. When it comes to the source of aesthetic normativity—in virtue of what aesthetic value is genuinely reason-giving—I argue that existing accounts, which appeal to pleasure or achievement, are inadequate. The only practice-external aesthetic requirement is a generic one to opt into at least some aesthetic practices. (shrink)

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

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

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, (...) and how one can justify the epistemic role for such values. The paper examines ways in which the link between beauty and truth can be defended, the challenges facing such accounts, and explores alternative epistemic roles for aesthetic values in scientific practice. (shrink)

Trademarks are not just property; they are aesthetic creations that pervade everyday experience. As pervasive aesthetic creations having literary, pictorial, graphic, sculptural, and musical content, trademarks deserve aesthetic analysis. So this paper discusses the origins, strength, appeal, and effectiveness of trademarks within the context of aesthetic considerations such as meaning, intention, authorship, and mode of creation. Also reviewed are morphemic and phonemic analysis of trademarks, semantic positioning, the dichotomy between creation and discovery of trademarks, and the (...) differences between trademarks and titles. The discussion is confined to "word marks" consisting of alphanumeric characters because discussing other kinds of marks (such as designs, configurations, sounds, colors, and scents) would raise issues well beyond the scope of a single article. (shrink)

Peter Geach’s distinction between logically predicative and logically attributive adjectives has gained a certain currency in philosophy. For all that, no satisfactory explanation of what an attributive adjective is has yet been provided. We argue that Geach’s discussion suggests two different ways of understanding the notion. According to one, an adjective is attributive just in case predications of it in combination with a noun fail to behave in inferences like a logical conjunction of two separate predications. According to the (...) other, an adjective is attributive just in case it cannot be applied in a truth-value-yielding fashion unless combined with a noun. The latter way of understanding the notion has been largely neglected by Geach’s critics, but we argue that taking account of it shows the misguided nature of some of their objections, and also yields a more satisfactory explanation of attributivity than does the other. (shrink)

According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of (...) this paper is to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value-Meriting-Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non-contingently, but also non-hedonically. VMP is the view that objects of aesthetic value are non-contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit. (shrink)

Ormerod and Chronicle reported that optimal solutions to traveling salesperson problems were judged to be aesthetically more pleasing than poorer solutions and that solutions with more convex hull nodes were rated as better figures. To test these conclusions, solution regularity and the number of potential intersections were held constant, whereas solution optimality, the number of internal nodes, and the number of nearest neighbors in each solution were varied factorially. The results did not support the view that the convex hull is (...) an important determinant of figural attractiveness. Also, in contrast to the findings of Ormerod and Chronicle, there were consistent individual differences. Participants appeared to be divided as to whether the most attractive figure enclosed a given area within a perimeter of minimum or maximum length. It is concluded that future research in this area cannot afford to focus exclusively on group performance measures. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I (...) suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

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 (...) aesthetic properties? The second strand of the puzzle arises when we widen the scope of aesthetic experience. The very same aesthetic properties that seem to require training for their perception in artworks do not appear to require training to perceive in objects of everyday aesthetic appreciation and natural phenomena. In this paper I argue that a prominent extant attempt to explain how training is compatible with aesthetic perception—cognitive permeation—is an inadequate solution. I also develop a positive view of aesthetic perception that provides a unified solution to both strands of the puzzle. (shrink)

In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) the (...) clarifying experience of the dawning of an aspect, which Wittgenstein pictures as the perception of an internal relation. By examining Wittgenstein’s use of “internal relation” from the Tractatus to his later writings, I come to challenge the still prevalent understanding of Wittgenstein’s appeals to grammar as an appeal to something given (e.g., to a set of grammatical rules). Instead, as I argue, Wittgensteinian appeals to grammatical criteria should be understood as modeled by the form of justification found in our conversations about art. (shrink)

Aesthetic considerations played a substantial and positive role in the development and acceptance of plate tectonics, the modern theory of the earth’s major geological features and the unifying framework of the earth sciences. Here I give an overview of how aesthetics influenced plate tectonics and take a detailed look at a handful of examples from this history where elegance and simplicity tipped the balance in favour of a given hypothesis. I discuss some implications of this case study for extant (...) accounts of aesthetics in science and argue that the positive role aesthetics played can be explained by recent accounts that posit an indirect and contingent link between knowledge and psychological mechanisms underlying aesthetic appreciation. (shrink)

Nietzsche announces his intentions to publish a “physiology of aesthetics”, namely a naturalistic explanation for how aesthetic judgements are grounded in the physiology of both the one experiencing the work, and the creator of it. But as well as the physiological reduction of aesthetic judgements, Nietzsche in many places across his oeuvre frames the apparatus of physiology, especially the prescriptive dimension of self-cultivation, in terms amenable to being treated as ‘aesthetic’. The first section will mount a (re-) (...) defense of the use of aestheticized language for discussing Nietzschean self-cultivation. The second section demonstrates an aesthetic evaluation of capacities that make possible the acquisition and removal of instinctual components, ultimately arguing for Nietzsche’s qualified indeterminism regarding the capacity for self-cultivation. The third section will assess the pres- ence of another aesthetic measure, this time in terms of envisaging one’s psycho-physiology by reference to an external spectacle. The final section discusses metaethical questions stemming from Nietzsche’s prescriptive language regarding the aestheticization of our physiology. (shrink)

In this paper we sketch a new version of aesthetic expressivism. We argue that one advantage of this view is that it explains various putative norms on the formation and revision of aesthetic judgement. We begin by setting out our proposed explananda and a sense in which they can be understood as governing the correct response to putative higher-order evidence in aesthetics. We then summarise some existing discussions of expressivist attempts to explain these norms, and objections raised to (...) them. This will allow us to identify the pitfalls that a good expressivist explanation needs to avoid. Finally, we sketch our preferred version of aesthetic expressivism which includes as a crucial part a hypothesis concerning the distinctive expressive function of aesthetic practice. We then consider how this theory can explain the putative aesthetic norms whilst avoiding the previous objections. (shrink)