Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, (...) social practices, and aesthetic value primitivism. I conclude by raising questions for further work in this area. (shrink)

Many writers describe a sense of requirement in aesthetic experience: some aesthetic objects seem to demand our attention. In this paper, I consider whether this experienced demand could ever constitute a genuine normative requirement, which I call an aesthetic obligation. I explicate the content, form, and satisfaction conditions of these aesthetic obligations, then argue that they would have to be grounded neither in the special weight of some aesthetic considerations, nor in a normative relation (...) we bear to aesthetic objects as such, but in the connections that certain aesthetic considerations have to our practical identities. On the practical identity approach, aesthetic obligation is best understood as a species of promissory obligation, namely self-promising. But this means that the experienced demand can have, at best, the status of a veridical hallucination: although both have the same content, it is the self-promise, and not the experienced demand, that gives rise to the obligation. While aesthetic obligations concern aesthetic objects, they are not obligations to the aesthetic per se. (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)

Do aesthetic reasons have normative authority over us? Could there be anything like an aesthetic ‘ought’ or an aesthetic obligation? I argue that there are no aesthetic obligations. We have reasons to act certain ways regarding various aesthetic objects – most notably, reasons to attend to and appreciate those objects. But, I argue, these reasons never amount to duties. This is because aesthetic reasons are merely evaluative, not deontic. They can only entice us (...) or invite us – they can never compel us. Beauty gives us goods without shoulds. (shrink)

The paper argued for the obligation of architects to make buildings buildings that people will find 'beautiful'. Whilst an obligation to accessible beauty is universal to humanity, its satsfaction can be local for a ny culture. Four objections to the thesis are discussed, but the conclusion is that, amongst the several moral obligations architects are faced with, that to provide accessible beauty is a fundamental obligation.

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)

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 of aesthetic supererogation (acts that go beyond the call of our aesthetic obligations) are possible. In this paper, we defend the thesis that there is good reason to think such acts exist. (shrink)

According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never compel us. In this paper, I develop a Kantian account of the normative force of aesthetic reasons. While Kant would likely agree that aesthetic reasons do not give rise to obligations, his account nevertheless gives us the resources for explaining how aesthetic reasons can still have more force than merely enticing reasons. This account appeals to the distinct normativity of (...) aesthetic judgments on Kant's theory and the way in which this kind of normativity structures aesthetic exchanges with other judging subjects. I argue that, in addition to the moral reasons we have for appreciating and preserving beauty, Kant’s account can accommodate distinctly aesthetic reasons for doing so that stem from our membership in aesthetic communities. (shrink)

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

Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship (...) of ethical to aesthetic considerations and argue that the respectful notion of sexiness is a genuinely aesthetic one, even though it does not involve assessment in relation to standards. (shrink)

Non-moral blame seems to be widespread and widely accepted in everyday life—tolerated at least, but often embraced. We blame athletes for poor performance, artists for bad or boring art, scientists for faulty research, and voters for flawed reasoning. This paper argues that non-moral blame is never justified—i.e. it’s never a morally permissible response to a non-moral failure. Having explained what blame is and how non-moral blame differs from moral blame, the paper presents the argument in four steps. First, it argues (...) that many (perhaps most) apparent cases of non-moral blame are actually cases of moral blame. Second, it argues that even if non-moral blame is pro tanto permissible—because its target is blameworthy for their substandard performance—it often (perhaps usually) fails to meet other permissibility conditions, such as fairness or standing. Third, it goes further and challenges the claim that non-moral blame is ever even pro tanto permissible. Finally, it considers a number of arguments in support of non-moral obligations and argues that none of them succeed. (shrink)

A dealbreaker, in the sense developed in this essay, is a relationship between a person's psychology and an aspect of an artwork to which they are exposed. When a person has a dealbreaking aversion to an aspect of a work, they are blocked from embracing the work's aesthetically positive features. I characterize dealbreakers, distinguish this response from other negative responses to an artwork, and argue that the presence or absence of a dealbreaker is in some cases an appropriate target of (...) moral evaluation. I then use the concept of dealbreakers to develop a new approach to the question of our moral obligations with respect to the work of immoral artists, arguing that there is no general obligation binding us to cultivate or eliminate a dealbreaking aversion to their work. I conclude by suggesting several other philosophical debates that could benefit from a focus on dealbreakers. (shrink)

Potentialities of attention and distraction with respect to images are critically reprised by Neapolitan artist Domenico Antonio Mancini. In Landscapes (2019), Google Street View addresses painted on canvases take the place of outlying areas of Italian cities, and of canonical oil ‘vedute’ paintings, obliging the viewer to switch from aesthetic absorption to a multitasking, reflexive attention enabled by the tools of mobile devices and the operative agency between the displayed and depicted images. Attracted by the ephemeral, geo-localized vistas displayed (...) on their smartphones, spectator-users must deal with the dynamis of the on-line GSV images: rhetorical and predictable, though, at the same time, and perhaps unintentionally, serendipitous and figural. (shrink)

E. F. Carritt (1876-1964) was educated at and taught in Oxford University. He made substantial contributions both to aesthetics and to moral philosophy. The focus of this entry is his work in moral philosophy. His most notable works in this field are The Theory of Morals (1928) and Ethical and Political Thinking (1947). Carritt developed views in metaethics and in normative ethics. In meta-ethics he defends a cognitivist, non-naturalist moral realism and was among the first to respond to A. J. (...) Ayer’s emotivist challenge to this view. In normative ethics he advocates a deontological view in which there is a plurality of obligations and of non-instrumental goods. In the context of defending this view he raised some penetrating and novel criticisms of ideal utilitarianism. He held that it is not acceptable to revise our reflective common-sense moral attitudes in the face of philosophical moral theories, and that moral philosophy is only indirectly practical. (shrink)

The purpose of this thesis is to make explicit the specificity of the following themes: the Bildung (formation/cultivation), education (Erziehung) and experimentation [Experimentieren – Erlebnis (experience)] in Nietzsche’s thought. As for that, it sustains that Nietzsche’s abandonment movement of the formation concept in favor of the notion of education and the subsequent substitution of education by the theme of experimentation, revealed a wide process of conceptual modification through which the author develops a radical theory of the constitution of the human (...) being. There are three distinct, although connected, moments of this process: the first one (chapters 1 and 2) in which the formation theme, not only in Nietzsche’s but in all the German tradition of the eighteenth and nineteenth centuries, is linked to discussions on the educational and formative value of art. For this reason, after presenting a contextualization of the relation between art and formation in the German tradition (chapter 1), it is presented (chapter 2) Nietzsche’s relation – the way it happens in his first important piece of writing The Birth of Tragedy – with the German aesthetic theories that reflected on the Greek culture, more specifically, on the problem of tragedy. Besides showing the influence of these theories on Nietzsche’s idea of formation, it is also shown the particularity of this idea and the elements that enabled the author to criticize the image of Greek serenity. Such critique happened due to the acknowledgement of an irretrievable split between public, art and culture in the Germany of the nineteenth century; the second one, (chapter 3), situated between his first important piece of writing, The Birth of Tragedy, and the extraordinary change of his thought, represented by the work Human, All too Human, is concerned about the problem of the authentic personality formation. In this period, the reflection on the authentic personality formation or the genius formation occurs in two distinct, although complimentary, registers: the first one, of analysis and critique of German teaching institutions, carried out in the five conferences delivered by him in the University of Basileia; and a second one, in which Nietzsche, based on his own experience with Schopenhauer, shows the dangers, the difficulties as well as the peculiarities of the formative experience to which one is submitted in the presence of a true philosopher. At last, the third moment (chapter 4), in which, based on the works produced after Human, All too human, the transformations of Nietzsche’s idea concerning the constitution of the human being are presented, characterized by the abandonment of the notion of formation, by the temporary use of the notion of education and by the choice of the experimentation notion as the most adequate to express the radicalism of the human being constitution process. The experimentation theme is presented in two registers: in the first one (in the first three items of chapter 4), based on Human, All too human; The Dawn and The Gay Science, it is shown the relation between the formation theme and the metaphysics critique based on the valorization of history, psychology and moral analysis; in the second one (in the last two items of chapter 4), it is reached the most advanced and radical formulation of Nietzsche’s thought on the theme of the human being constitution. Since the breach of the novel of self-cultivation (Bildungsroman) in Thus Spoke Zaratustra, dealing with the training and selection theme in On the Genealogy of Morality, to the establishment of figures of the overman and the sovereign individual, it is always focused an imperious obligation, which is to refer the theme of the human being constitution to the notion of experimentation that shows up under the sign of the concept of time and the solitude experience. (shrink)

The paper addresses the issue of ethical obligations in the performance of musical works in the Western classical tradition, arguing that there are indeed such obligations, although they are not categorical. -/- PT: Na tradição clássica ocidental, as obras de arte musicais, teatrais e, até certo ponto, as coreografias, são criadas por artistas-autores, mas necessitam de ser executadas por intérpretes (instrumentistas, cantores e maestros, actores e encenadores, bailarinos, etc.). Estes são assim chamados porque existe sempre uma dose de (...) descricionariedade, não só nas suas decisões sobre o que as instruções inscritas na notação por parte do autor querem "realmente" dizer, como ainda acerca dos muitos aspectos necessária ou voluntariamente deixados em aberto por ele. Limitando-nos aos casos em que é evidente ou relativamente claro que o autor favorece, directamente ou por via das convenções artísticas por si tacitamente aceites, uma forma de interpretação da sua obra entre outras, debruço-me sobre a questão de saber se, para além das considerações estéticas integrantes da decisão de respeitar total ou parcialmente essa forma, há também considerações especificamente morais que sejam relevantes para tal decisão. Os tratamentos filosóficos desta questão tiveram alguma expressão nos anos 80 e 90, sobretudo a propósito do movimento da interpretação musical historicamente correcta ou informada de obras de épocas com as quais se estava a recuperar o contacto perdido em termos de modos de execução e instrumentos específicos dessas épocas. Curiosamente, contrastando com o debate entre a crítica de arte, o debate filosófico é muito menos vivo numa actualidade marcada pelo ecletismo pós-moderno que, sobretudo no teatro e na ópera, trata mesmo os aspectos mais estruturantes das obras como completamente opcionais, ou as obras elas as próprias como materiais para fusão, reconstrução ou improvisação. Revisitando os argumentos em torno do tópico, defenderei a prevalência da posição segundo a qual há uma dimensão moral nas artes performativas, mas que as obrigações daí resultantes não são todas categóricas, tendo diferentes graus de força, e devem ser entendidas como uma variável que tem de ser, em cada caso, ponderada lado a lado com as considerações estéticas. (shrink)

The Concepts of Bourdieu's Distinction: A Social Critique of the Judgement of Taste -/- The way Bourdieu introduces foreign concepts (habitus, doxa, logic of practice) is through jumping straight and enthusiastically into his deep thoughts, instead of clearly and logically defining them first. -/- Accepting these dominant characteristics of taste is, according to Bourdieu, a form of \" symbolic violence .\" That is, the fact of considering these distinctions between tastes as natural, and believing that they are necessary, denies the (...) dominated classes the possibility of defining their own world, which puts those with less general capital at a disadvantage. Moreover, even when the dominated social classes come to have their own ideas about what it is \"good taste \"and what is not,\" the aesthetics of the working class is dominated aesthetic, which it is obliged to always defined in terms of the aesthetics of the ruling class . (shrink)

This essay experiments with Kant’s writings on rational religion distilled through the Strange Case of Dr Jekyll and Mr Hyde as canonical confrontations with primal problems of evil. It suggests boundaries between Stevenson’s characters and their occupations comparable to the those conflicted in the Kantian university, namely, law, medicine, theology, and philosophy (which makes a short anticipatory appearance in his earlier text on rational religion). With various faculties it investigates diffuse comprehensions—respectively, legal crime, biogenetic transmission, and original sin—of key ethical (...) modes: will, inheritance, incorporation, freedom, duty, obligation, love, living, and killing to conclude on the possible logic of evil (or evils of logic) collateral and possibly innate to Kant’s comprehension of radical evil. (shrink)

In Wilmot-Smith’s recent “Law, ‘Ought’, and ‘Can’,” he argues that legal obligation does not imply ability. In this short reply, I show that Wilmot-Smith’s arguments do not withstand critical scrutiny. In section 1, I attack Wilmot-Smith’s argument for the claim that allowing for impossible obligations makes for a better legal system, and I introduce positive grounds for thinking otherwise. In section 2, I show that, even if Wilmot-Smith had established that impossible obligations make for a better legal system, (...) his subsequent attack on OIC fails. (shrink)

The Problem of Obligation is the problem of how to explain the features of moral obligations that distinguish them from other normative phenomena. Two recent accounts, the Second-Personal Account and the Relational Account, propose superficially similar solutions to this problem. Both regard obligations as based on the claims or legitimate demands that persons as such have on one another. However, unlike the Second-Personal Account, the Relational Account does not regard these claims as based in persons’ authority to address (...) them. Advocates of the Relational Account accuse the Second-Personal Account of falling prey to the Problem of Antecedence. According to this objection, the Second-Personal Account is committed to the implausible claim that we have an obligation to φ only if, and because, others demand that we φ. Since the Relational Account’s proposed solution to the Problem of Obligation does not face the Problem of Antecedence, its advocates argue that it is dialectically superior to the Second-Personal Account. In this paper, I defend the Second-Personal Account by arguing that, first, the Relational Account does not actually solve the Problem of Obligation and, second, the Second-Personal Account does not fall prey to the Problem of Antecedence. (shrink)

In this paper, I defend the view that it is wrong for us to consume only, or overwhelmingly, media that broadly aligns with our own political viewpoints: that is, it is wrong to be politically “partisan” in our decisions about what media to consume. We are obligated to consume media that aligns with political viewpoints other than our own – to “diversify our sources”. This is so even if our own views are, as a matter of fact, substantively correct.

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)

Moral obligation, according to one influential conception, is distinct among other moral concepts in at least two respects. First, obligation is linked with demands. If I am obligated to you to do X, then you can demand that I do X. Second, obligation is linked with blame and the rest of our accountability practices. If I am obligated to you to do X, failure to do so is blameworthy and you may hold me accountable for it. The puzzle is the (...) following: when it comes to our attitudes, in particular to our emotional responses, these two components seem to come apart. We do not appear to demand that others feel a given emotion. And yet, we do blame others (and ourselves) for feeling them. The challenge I take on in this paper is to sort out the moral status of emotions given these facts. (shrink)

In this paper I discuss a number of different relationships between two kinds of obligation: those which have individuals as their subject, and those which have groups of individuals as their subject. I use the name collective obligations to refer to obligations of the second sort. I argue that there are collective obligations, in this sense; that such obligations can give rise to and explain obligations which fall on individuals; that because of these facts collective (...) obligations are not simply reducible to individual obligations; and that collective obligations supervene on individual obligations, without being reducible to them. The sort of supervenience I have in mind here is what is sometimes called ‘global supervenience’. In other words, there cannot be two worlds which differ in respect of the collective obligations which exist in them without also differing in respect of the individual obligations which exist in them. (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 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)

Do facts about what an agent would freely do in certain circumstances at least partly determine any of her moral obligations? Actualists answer ‘yes’, while possibilists answer ‘no’. We defend two novel hybrid accounts that are alternatives to actualism and possibilism: Dual Obligations Hybridism and Single Obligation Hybridism. By positing two moral ‘oughts’, each account retains the benefits of actualism and possibilism, yet is immune from the prima facie problems that face actualism and possibilism. We conclude by highlighting (...) one substantive difference between our two hybrid accounts. (shrink)

It is sometimes argued that non-agent collectives, including what one might call the ‘global collective’ consisting of the world’s population taken as a whole, cannot be the bearers of non-distributive moral obligations on pain of violating the principle that ‘ought implies can’. I argue that one prominent line of argument for this conclusion fails because it illicitly relies on a formulation of the ‘ought implies can’ principle which is inapt for contexts which allow for the possibility of non-distributive plural (...) predications of agency, which are precisely the contexts in which we might expect non-agents to be obligation-bearers. (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)

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)

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)

We naturally attribute obligations to groups, and take such obligations to have consequences for the obligations of group members. The threat posed by anthropogenic climate change provides an urgent case. It seems that we, together, have an obligation to prevent climate catastrophe, and that we, as individuals, have an obligation to contribute. However, understood strictly, attributions of obligations to groups might seem illegitimate. On the one hand, the groups in question—the people alive today, say—are rarely fully-fledged (...) moral agents, making it unclear how they can be subjects of obligations. On the other, the attributions can rarely be understood distributively, as concerned with members’ obligations, because obligations to do something require a capacity to do it, and individual members often lack the relevant capacities. Moreover, even if groups can have obligations, it is unclear why that would be relevant for members, exactly because members often lack control over whether group obligations are fulfilled. In previous work, I have argued that a general understanding of individual obligations extends non-mysteriously to irreducibly shared obligations, rendering attributions of obligations to groups legitimate. In this paper, I spell out how the proposed account also helps us understand the relation between individual and shared obligations. Even though few individual human agents have any significant control over whether we will be successful in preventing climate catastrophe, our collective capacity to prevent catastrophe and shared preventative obligation to do so can give rise to significant individual obligations to contribute to its fulfillment. (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)

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 (...) windows into our mental functioning. The result is a vast and fast-growing research programme that promises to deliver important insights into our aesthetic encounters as well as a wide range of psychological phenomena of general interest. Here, we present this developing research programme, describing its grounds and highlighting its prospects. We start by clarifying how the study of the arts and aesthetics encounters the PP picture of mental functioning (§1). We then go on to outline the prospects of this encounter for the fields involved: philosophy and history of art (§2), psychology of aesthetics and neuroaesthetics (§3) and psychology and neuroscience more generally (§4). The upshot is an ambitious but well-defined framework within which aesthetics and cognitive science can partner up to illuminate crucial aspects of the human mind. -/- This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’. -/- . (shrink)

There is a clear intuitive difference between lying and attempting to mislead. Recent efforts to analyse this difference, and to define lying in ways that respect it, are motivated by the conviction that the difference is important or significant in some way. Traditionally, the importance of the lying-misleading distinction has been cashed out in moral terms, but this approach faces a number of challenges. The purpose of this paper is to suggest and develop a different way in which the lying-misleading (...) distinction might be important: it might matter aesthetically. I propose that the aesthetic significance of the distinction inheres in a more prominent experienced disharmony in lying as compared with attempting to mislead. (shrink)

The current prevailing view is that participation in biomedical research is above and beyond the call of duty. While some commentators have offered reasons against this, we propose a novel public goods argument for an obligation to participate in biomedical research. Biomedical knowledge is a public good, available to any individual even if that individual does not contribute to it. Participation in research is a critical way to support an important public good. Consequently, all have a duty to participate. The (...) current social norm is that individuals participate only if they have a good reason to do so. The public goods argument implies that individuals should participate unless they have a good reason not to. Such a shift would be of great aid to the progress of biomedical research, eventually making society significantly healthier and longer lived. (shrink)

Can testimony provide reasons to believe some proposition about an artwork’s aesthetic character? Can testimony bring an agent into a position where they can issue an aesthetic judgement about that artwork? What is the epistemic value of aesthetic communication? These questions have received sustained philosophical attention. More fundamental questions about aesthetic communication have meanwhile been neglected. These latter questions concern the nature of aesthetic communication, the criteria that determine when aesthetic communication is successful, and (...) the frequency of communicative success in aesthetic communication. The neglect of these questions is a serious oversight, not least because they bear directly on each of the other questions listed. This paper’s focus is the more fundamental set of questions. I argue for a restricted form of communicative pessimism. Discerning aesthetic communication about an artwork typically fails unless its recipient is both acquainted with that artwork and able to coordinate with the speaker on an aesthetic understanding of it. I arrive at this conclusion by challenging the standard conception of the nature of aesthetic communication that the literature presupposes, as well as an accompanying criterion of communicative success. I introduce an alternative view. In closing I relate my discussion to the former set of questions. (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)

Very often when the vast majority of experts agree on some scientific issue, laypeople nonetheless regularly consume articles, videos, lectures, etc., the principal claims of which are inconsistent with the expert consensus. Moreover, it is standardly assumed that it is entirely appropriate, and perhaps even obligatory, for laypeople to consume such anti-consensus material. I maintain that this standard assumption gets things backwards. Each of us is particularly vulnerable to false claims when we are not experts on some topic – such (...) falsehoods have systematic negative impacts on our doxastic attitudes that we can neither prevent nor correct. So, when there is clear expert consensus on a given scientific issue, while it is permissible for experts to consume anti-consensus material, laypeople have an epistemic obligation to avoid such material. This argument has important consequences for philosophical discussions of our epistemic obligations to perform or omit belief-influencing actions. Such discussions typically abstract away from the important differences between experts and laypeople. Accordingly, we should reject this typical practice as problematic, and insist instead that laypeople and experts have fundamentally different epistemic obligations. (shrink)

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 (...) exploring the question from the viewpoints of species diversity, ecosystem diversity, and genetic diversity, we argue that there is a mismatch between apparent and real biodiversity and that aesthetics can, at best, give only limited support for biodiversity conservation. (shrink)

In this paper I attempt to show how an appeal to a particular kind of collective obligation - a collective obligation falling on an unstructured collective consisting of the world’s population as a whole – can be used to undermine recently influential objections to the idea that there is a human right to health which have been put forward by Gopal Sreenivasan and Onora O’Neill. -/- I take this result to be significant both for its own sake and because it (...) helps to answer a challenge often put to Those who argue for the existence of collective obligations: namely, to explain why the question of whether there are any such obligations might matter from a practical point of view. One way of introducing the objection is to focus on questions of agency. Here I'll argue both that there can be obligations on groups that are not themselves collective agents, and that these can play an important explanatory and clarifcatory role in accounting for obligations which fall on individuals. (shrink)

I explore various ways of integrating the framework for predeterminism, agency, and ability in[P.McNamara, Nordic J. Philos. Logic 5 (2)(2000) 135] with a framework for obligations. However,the agential obligation operator explored here is defined in terms of a non-agential yet personal obligation operator and a non-deontic (and non-normal) agency operator. This is contrary to the main current trend, which assumes statements of personal obligation always take agential complements. Instead, I take the basic form to be an agent’s being obligated (...) to be such that p. I sketch some logics for agential obligation based on personal obligation and agency, first in a fairly familiar context that rules out conflicting personal obligations (and derivatively, conflicting agential obligations), and then in contexts that do allow for conflicts (of both sorts). (shrink)

Many authors hold that collectives, as well as individuals can be the subjects of obligations. Typically these authors have focussed on the obligations of highly structured groups, and of small, informal groups. One might wonder, however, whether there could also be collective obligations which fall on everyone – what I shall call ' global collective obligations '. One reason for thinking that this is not possible has to do with considerations about agency : it seems as (...) though an entity can only be the subject of obligations if it is an agent. In this paper, I try to show that the argument from agency is not a good reason for being sceptical about the existence of global collective obligations : it derives whatever plausibility it has from the idea that claims about obligation need to be addressable to some agent. My suggestion is that we should accept this principle about the addressability of obligations, but deny that the addressee of an obligation need be the subject of that obligation. The collective obligations of unstructured collections of individuals, including global collective obligations, meet the addressability requirement insofar as they require something of the individuals who make up the collective. (shrink)

In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense (...) has quite a lot in common with taking and appreciating a photograph. On our way, we will see how imagination plays a crucial role in the story. (shrink)

P.J. Markie tries to solve the so-called particularity problem of natural duty accounts of political obligation, a problem which seems to make natural duty accounts implausible. I argue that Markie at best “dissolves” the problem: while his own natural duty account of political obligation still does not succeed in ensuring particularity, this is not an implausible but an entirely plausible implication of his account, thanks to the weakness of his concept of political obligation. The price for this, however, is that (...) his approach has little to do with political obligation and the particularity problem as discussed in the literature. (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)

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)

This book proposes a substantially new solution to a classic philosophical problem: how is it possible that morality genuinely obligates us, binding our wills without regard to our perceived well-being? Building on Immanuel Kant’s idea of the fact of reason, the book argues that the bindingness of obligation can be traced back to the fact, articulated in different ways by Maurice Merleau-Ponty, Michel Serres, and Jean-Luc Nancy, that we find ourselves responsive, prior to all reflection, to a pre-personal, originary dimension (...) of sense. (shrink)