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)

Because culture plays a role in determining the aesthetic merit of a work of art, intrinsically similar works can have different aesthetic merit when assessed in different cultures. This paper argues that a form of aesthetic hedonism is best placed to account for this relativity of aesthetic value. This form of hedonism is based on a functional account of aesthetic pleasure, according to which it motivates and enables mental engagement with artworks, and an (...) account of pleasure-learning, in which it reinforces the appreciation of culture specific ways of engaging with art. (shrink)

Aesthetic value empiricism claims that the aesthetic value of an object is grounded in the value of a certain kind of experience of it. The most popular version of value empiricism, and a dominant view in contemporary philosophical aesthetics more generally, is aesthetic hedonism. Hedonism restricts the grounds of aesthetic value to the pleasure enjoyed in the right kind of experience. But hedonism does not enjoy any clear advantage over a more permissive alternative (...) version of value empiricism. This alternative is aesthetic liberalism. On this view, an object’s aesthetic value is fully grounded in any value—not just the hedonic value—of a correct and complete experience of its sensory features. To demonstrate the advantages of liberalism over hedonism, I apply both views to analyze the aesthetic value of the Spring Temple Buddha and Anselm Kiefer’s Seraphim. I detail four advantages of liberalism over hedonism, and I conclude by defending liberalism from two kinds of objection. (shrink)

This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of (...) a work of art is its capacity to elicit from a suitably well-informed consumer a specific kind of pleasure. (shrink)

The default theory of aesthetic value combines hedonism about aesthetic value with strict perceptual formalism about aesthetic value, holding the aesthetic value of an object to be the value it has in virtue of the pleasure it gives strictly in virtue of its perceptual properties. A standard theory of aesthetic value is any theory of aesthetic value that takes the default theory as its theoretical point of departure. This paper argues that standard theories (...) fail because they theorize from the default theory. (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)

Response-dependence theories have historically been very popular in aesthetics, and aesthetic response-dependence has motivated response-dependence in ethics. This chapter closely examines the prospects for such theories. It breaks this category down into dispositional and fittingness strands of response-dependence, corresponding to descriptive and normative ideal observer theories. It argues that the latter have advantages over the former but are not themselves without issue. Special attention is paid to the relationship between hedonism and response-dependence. The chapter also introduces two (...) class='Hi'>aesthetic properties that lead to wrong kinds of reasons problems for aesthetic response-dependence: insightfulness and the capacity to change one’s perspective. These properties do not have obvious parallels in the ethical domain, and so present an obstacle for response-dependence even in aesthetics. The chapter ends by examining replies on behalf of the response-dependence theorist, ultimately suggesting that a restricted form of response-dependence is the most promising way forward for fans of such theories. (shrink)

Aesthetic hedonism is the view that to be aesthetically good is to please. For most aesthetic hedonists, aesthetic normativity is hedonic normativity. This paper argues that Kant's third critique contains resources for a non-hedonic account of aesthetic normativity as sourced in autonomy as self-legislation. A case is made that the account is also Kant's because it ties his aesthetics into a key theme of his larger philosophy.

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)

One question that leads us into aesthetics is: why does beauty matter? Or, what do aesthetic goods bring to my life, to make it a life that goes well? Or, how does beauty deserve the place we have evidently made for it in our lives? A theory of aesthetic value states what beauty is so as to equip us to answer this question. According to aesthetic hedonism, aesthetic values are properties of items that stand in (...) constitutive relation to pleasure. Contemporary versions of aesthetic hedonism don’t explain what makes aesthetic values aesthetic, but they do explain what makes them normative, stating what makes it the case that aesthetic value facts lend weight to what an agent should do, for the fact that acting yields pleasure is always a reason to act. This book introduces and defends an alternative to aesthetic hedonism. According to the network theory, aesthetic value facts lend weight to its being an achievement for an agent to act. Since agents achieve by acting in coordination with one another, the theory takes seriously the sociality of aesthetic activity. The main argument for the network theory is that it better explains six facts about aesthetic activity than does aesthetic hedonism. The book also discusses the relationship between aesthetic value and pleasure, the point and distinctive character of aesthetic discourse, and the metaphysics of aesthetic value. Two final chapters use the network theory to shed light on how aesthetic value matters to us as individuals and as members of collectives. (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

In this essay, I’ll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a “feeling” or “sensation” that results from engaging (...) with a work of art. It is rather a mental state that facilitates engagement with an artwork, and (in the long run) enables a consumer to learn how to maximize this kind of pleasure. This is where culture comes in. If you belong to a culture, you know how to engage pleasurably with an artwork that is produced so you can engage with it in just this way. The aesthetic value of an artwork is that it plays into such a culture-pleasure nexus. -/- . (shrink)

The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, (...) and constitutes their aesthetic evaluation and appreciation. This is why and how art is non-contingently related to pleasure. Call this, the Affective View. While I don’t advance conclusive arguments for the Affective View in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors’ power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the Affective View is worth serious reconsideration. (shrink)

I argue that in purely professional games of pure chance, such as slot machines, roulette, baccarat or pachinko, any instance of cheating that successfully deceives the judge can be ‘part of the game’. I examine, and reject, various proposals for the ‘ethos’ that determines how we ought to interpret the formal rules of games of pure chance, such as being a test of skill, a matter of entertainment, a display of aesthetic beauty, an opportunity for hedonistic pleasure, and a (...) fraternal activity. Ultimately, I argue that ‘winning the benefit’ is the only ethos that can apply in purely professional games of pure chance, and that if we interpret the formal rules according to this ethos, cheating that is undertaken with respect for the judge’s authority, but that attempts to cause the judge of the game to ‘voluntarily’ relinquish the benefit of the game by deceiving them into thinking that the formal rules of the game have been followed, is impermissible but acceptable cheating, and is therefore within, rather than outside, the game. Here, I define ‘games of pure chance’ as games in which chance is the only determinant of winning. (shrink)

I argue for a perfectionist reading of Mill’s account of the good life, by using the failures of development recorded in his Autobiography as a way to understand his official account of happiness in Utilitarianism. This work offers both a new perspective on Mill’s thought, and a distinctive account of the role of aesthetic and emotional capacities in the most choiceworthy human life. I consider the philosophical purposes of autobiography, Mill’s disagreements with Bentham, and the nature of competent judges (...) and the pleasure they take in higher culture. I conclude that Millian perfectionism is an attractive and underappreciated option for contemporary value theory. (shrink)

An overview of the hedonistic theory of wellbeing.

According to hedonistic act utilitarianism, an act is morally right if and only if, and because, it produces at least as much pleasure minus pain as any alternative act available to the agent. This dissertation gives a partial defense of utilitarianism against two types of objections: action guidance objections and intuitive objections. In Chapter 1, the main themes of the dissertation are introduced. The chapter also examines questions of how to understand utilitarianism, including (a) how to best formulate the moral (...) explanatory claim of the theory, (b) how to best interpret the phrase "pleasure minus pain," and (c) how the theory is related to act consequentialism. The first part (Chapters 2 and 3) deals with action guidance objections to utilitarianism. Chapter 2 defines two kinds of action guidance: doxastic and evidential guidance. It is argued that utilitarianism is evidentially but not doxastically guiding for us. Chapter 3 evaluates various action guidance objections to utilitarianism. These are the objections that utilitarianism, because it is not doxastically guiding, is a bad moral theory, fails to be a moral theory, is an uninteresting and unimportant moral theory, and is a false moral theory. The second part (Chapters 4, 5 and 6) deals with intuitive objections to utilitarianism. Chapter 4 presents three intuitive objections: Experience Machine, Transplant, and Utility Monster. Three defenses of utilitarianism are subsequently evaluated. Chapter 5 and 6 introduces two alternative defenses of utilitarianism against intuitive objections, both of which concern the role that imagination plays in thought experimentation. In Chapter 5, it is argued that we sometimes unknowingly carry out the wrong thought experiment when we direct intuitive objections against utilitarianism. In many such cases, we elicit moral intuitions that we believe give us reason to reject utilitarianism, but that in fact do not. In Chapter 6, it is argued that using the right kind of sensory imagination when we perform thought experiments will positively affect the epistemic trustworthiness of our moral intuitions. Moreover, it is suggested that doing so renders utilitarianism more plausible. In Chapter 7, the contents of the dissertation are summarized. (shrink)

I defend hedonism about moral value by first presenting an argument for moral skepticism, and then showing that phenomenal introspection gives us a unique way to defeat the skeptical argument and establish pleasure's goodness.

This article covers four types of hedonism: ancient hedonism; ethical hedonism; axiological hedonism; and psychological hedonism. It concentrates on the latter two types, both by clarifying them and by discussing arguments in their behalf. It closes with a few words about the relevance of those positions to applied ethics.

According to hedonism about well-being, lives can go well or poorly for us just in virtue of our ability to feel pleasure and pain. Hedonism has had many advocates historically, but has relatively few nowadays. This is mainly due to three highly influential objections to it: The Philosophy of Swine, The Experience Machine, and The Resonance Constraint. In this paper, I attempt to revive hedonism. I begin by giving a precise new definition of it. I then argue (...) that the right motivation for it is the ‘experience requirement’ (i.e., that something can benefit or harm a being only if it affects the phenomenology of her experiences in some way). Next, I argue that hedonists should accept a felt-quality theory of pleasure, rather than an attitude-based theory. Finally, I offer new responses to the three objections. Central to my responses are (i) a distinction between experiencing a pleasure (i.e., having some pleasurable phenomenology) and being aware of that pleasure, and (ii) an emphasis on diversity in one’s pleasures. (shrink)

It is widely supposed that Epicurus' identification of aponia (painlessness) and the absence of anxiety (ataraxia) yields as a consequence the claim that the most pleasant life is one that requires little in the way of resources or power. This paper argues that the remarks in Cicero which attempt to reconstruct Epicurus' reasons for thinking that aponia and ataraxia are the limit of pleasure are best interpreted if we suppose that the inference runs the other direction. Epicurus supposed that it (...) was a pre-theoretical constraint on any account of human happiness that it should be natural. Moreover, its naturalness means its in-principle availability to most humans. (shrink)

Hedonism is a basic problem in society, especially in Indonesia. There are several negative impacts produced by hedonism such as poverty, debt problems, and social conflict. With an income level that does not match one's level of spending, this can cause an imbalance in one's financial condition. The economic theory of Marxism—which was pioneered by Karl Marx through one of his books entitled The capital—helps us to understand more about logical considerations when consuming and maximizing utility to fulfill (...) the collective interest. Capitalism creates a quite radical push in one's consumption activity, where by analysis Law Diminishing Marginal Utility, capitalists will easily make new innovations so that they can produce new commodities that are deliberately positioned as commodities needed by society. Debt to Income Ratio which is one of the ratios to measure the liability and income of entities can be used as a step to prevent or slow down the development of a culture of hedonism and raise collective awareness in the midst of a fairly chaotic capitalist system. (shrink)

An encyclopedia entry on hedonistic theories of value and welfare -- the view, roughly, that pleasure is the good.

I defend ethical hedonism, the view that pleasure is the sole good thing, by arguing that it offers the only answer to an argument for moral skepticism. The skeptical problem arises from widespread fundamental moral disagreement, which entails the presence of enough moral error to undermine the reliability of most processes generating moral belief. We know that pleasure is good through the reliable process of phenomenal introspection, which reveals what our experiences are like. If knowing of pleasure’s goodness through (...) phenomenal introspection is the only reliable way to form our initial moral beliefs, we should accept ethical hedonism. (shrink)

Focuses on the theories of the Epicureans and Cyrenaics in light of Plato's and Aristotle's criticisms of hedonism. Closes with a brief discussion of how the Pyrrhonian skeptical conception of the telos compares to the Epicureans'.

The paradox of hedonism is the idea that making pleasure the only thing that we desire for its own sake can be self-defeating. Why would this be true? In this paper, I survey two prominent explanations, then develop a third possible explanation, inspired by Joseph Butler's classic discussion of the paradox. The existing accounts claim that the paradox arises because we are systematically incompetent at predicting what will make us happy, or because the greatest pleasures for human beings are (...) found in certain special goods which hedonists cannot enjoy. On the account that I develop, the paradox is a consequence of a theory about the nature of pleasure, together with a view about the requirements of rational belief. Which of these explanations is correct, I argue, bears on central questions about how to understand the nature and extent of the paradox. (shrink)

I develop a distinction between two types of psychological hedonism. Inferential hedonism (or “I-hedonism”) holds that each person only has ultimate desires regarding his or her own hedonic states (pleasure and pain). Reinforcement hedonism (or “R–hedonism”) holds that each person's ultimate desires, whatever their contents are, are differentially reinforced in that person’s cognitive system only by virtue of their association with hedonic states. I’ll argue that accepting R-hedonism and rejecting I-hedonism provides a conciliatory (...) position on the traditional altruism debate, and that it coheres well with the neuroscientist Anthony Dickinson’s theory about the evolutionary function of hedonic states, the “hedonic interface theory.” Finally, I’ll defend R-hedonism from potential objections. (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)

Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, I argue that if (...) conceptual engineers are interested in expanding their project to the field of aesthetics, which would greatly benefit the field, then they should rely on the existing experimental work of aestheticians. Experimental philosophers have only recently started to join forces with conceptual engineers in various fields, as well as to explore the methodological implications of such an alliance. This paper goes a step further by not only arguing that CE has potential in aesthetics, but that the way to realize this potential is to piggyback, so to speak, on the work of experimental aestheticians. In other words, instead of building a CE project in aesthetics from the ground up, this paper describes the support that CE can and should derive from current experimental aesthetics, thereby making the former’s development more efficiently realizable. Furthermore, I argue that doing so would also be beneficial to experimental aesthetics. Currently, the integration of X-Phi to the wider field of aesthetics is losing ground because certain objections—notably, the objection that X-Phi cannot be of relevance to normative questions—have not been properly refuted. By pairing up with a normative programme like CE, though, experimental aestheticians should finally be able to put these objections to rest. (shrink)

In this article, I examine two of the standard objections to forms of value hedonism. The first is the common claim, most famously made by Bradley and Moore, that Mill's qualitative hedonism is inconsistent. The second is the apparent problem for quantitative hedonism in dealing with malicious pleasures. I argue that qualitative hedonism is consistent, even if it is implausible on other grounds. I then go on to show how our intuitions about malicious pleasure might be (...) misleading. (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 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)

Aesthetic internalism claims a link between judgement and motivation: aesthetic judgements bring with them motivations to act in characteristic ways. Critics object that there is a difference between merely liking something and judging it to be aesthetically good, and that it is our likings, not our aesthetic judgements, that motivate us. This paper develops a version of aesthetic internalism that can respond to this criticism. Wholehearted aesthetic judgements are characterized by stability, attention, and motivation. Making (...) such judgements is an important part of a good life, and so at least some aesthetic judgements are motivating. So we have reason to think that this version of aesthetic internalism is true. This paper defends wholehearted aesthetic internalism against objections, and assesses an argument from aesthetic internalism to aesthetic non-cognitivism. While wholehearted aesthetic internalism can only offer qualified support to non-cognitivism, it nonetheless offers a number of fruitful avenues for further work. (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)

I advocate an ad hominem reading of the hedonism that appears in the final argument of the Protagoras. I that attribute hedonism both to the Many and to Protagoras, but my focus is on the latter. I argue that the Protagoras in various ways reflects Plato’s view that the sophist is an inevitable advocate for, and himself implicitly inclined toward, hedonism, and I show that the text aims through that characterization to undermine Protagoras’ status as an educator. (...) One of my objectives in the course of my arguments is to explore connections between the final argument of the Protagoras and the Man-Measure Doctrine as it is developed in the Theaetetus. (shrink)

Following C. S. Peirce’s claim that aesthetics precedes ethics and logic, I argue for reconceiving aesthetics as a normative science. The deteriorated relations between these links in the ‘modern mythology’ is associated with art’s decline and apparent indistinguishability from the ‘general aesthetic’ (aided by ‘aesthetics as theory’). ‘Naturalizing’ art, according to F. W. Schelling’s system, is proposed to ameliorate this. Bringing together Peircian semiotics with Schelling’s ‘process metaphysics’ suggests how to restore the historicized split between Art ‘as principle’ and (...) the Person (two ‘perfect signs’) by attending to the ‘ethical phenomenology’ of artworks. An argument is then made for how modern ethics and ‘morals’ may be reconnected. (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)

There is a widespread belief that for their own safety and for the protection of wildlife, cats should be permanently kept indoors. Against this view, I argue that cat guardians have a duty to provide their feline companions with outdoor access. The argument is based on a sophisticated hedonistic account of animal well-being that acknowledges that the performance of species-normal ethological behavior is especially pleasurable. Territorial behavior, which requires outdoor access, is a feline-normal ethological behavior, so when a cat is (...) permanently confined to the indoors, her ability to flourish is impaired. Since cat guardians have a duty not to impair the well-being of their cats, the impairment of cat flourishing via confinement signifies a moral failing. Although some cats assume significant risks and sometimes kill wild animals when roaming outdoors, these important considerations do not imply that all cats should be deprived of the opportunity to access the outdoors. Indeed, they do not, by themselves, imply that any cat should be permanently kept indoors. (shrink)

In Plato’s Philebus, Socrates’ second account of ‘false’ pleasure (41d-42c) outlines a form of illusion: pleasures that appear greater than they are. I argue that these pleasures are perceptual misrepresentations. I then show that they are the grounds for a methodological critique of hedonism. Socrates identifies hedonism as a judgment about the value of pleasure based on a perceptual misrepresentation of size, witnessed paradigmatically in the ‘greatest pleasures’.

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)

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)

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.

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)

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)

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.

Scientists regularly invoke broadly aesthetic properties like elegance and simplicity when evaluating theories, but why should we expect aesthetic pleasure to signal an epistemic good? I argue that aesthetic judgements in science are best understood as a special case of affective cognition, and that the feelings on which these judgements are based are the upshots of metacognitive monitoring of the quality of our engagement with theory and evidence. Finding a theory beautiful fallibly signals that it fits well (...) with our background knowledge and that it’s neither artificially adjusted to accommodate otherwise disconfirming evidence nor fitted to noise in the data, which makes aesthetic pleasure a good heuristic for theory evaluation. (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)