I argue, contra Mohan Matthen, that at least some aesthetic pleasures arising from the appreciation of aesthetic features of artworks are what he calls ‘r-pleasures’ as opposed to ‘f-pleasures’—and moreover, that the paradigm aesthetic pleasure appears to be an r-pleasure on Matthen's terms. I then argue that talk of r- and f-pleasures does not distinguish different kinds, but two different features of pleasure; so this supposed distinction cannot be used to characterize a sui generis (...) aesthetic pleasure. (shrink)

This paper examines the notion of aesthetic pleasure within the framework of an aesthetics of value. The topic is introduced in sect. 1, while sect. 2 presents Moritz Geiger’s distinction between two kinds of aesthetic pleasure: liking, which enables us to grasp the aesthetic values of the artwork; and enjoyment, which is understood to be an emotional response. Sect. 3 reassesses the main tenets of Geiger’s account in the light of current research. In particular, I (...) provide arguments in favor of Geiger’s distinction between liking and enjoyment, but I call into question the claim that liking reveals aesthetic values. In sect. 4, I suggest that liking is a form of feeling motivated by the cognition of aesthetic value and I distinguish it from both the grasping of values and emotional responses. I conclude in sect. 5 by briefly summarizing my main claims. (shrink)

ABSTRACTMohan Matthen's ‘The Pleasure of Art’ considers a rich variety of psychological phenomena surrounding our experience of pleasure in aesthetic appreciation. I explain many of these phenomena in terms of desire. Often my explanations support and complement Matthen's account; but sometimes I account for the same phenomena in terms of different causal structures than he invokes, seeking a more unified psychological theory.

An object has aesthetic value (henceforth: a-value) because a certain sort of cognitive engagement with it is beneficial. This grounding in mental activity expl.

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 nonhedonic 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.

This paper presents a new account of aesthetic pleasure, according to which it is a distinct psychological structure marked by a characteristic self-reinforcing motivation. Pleasure figures in the appreciation of an object in two ways: In the short run, when we are in contact with particular artefacts on particular occasions, aesthetic pleasure motivates engagement and keeps it running smoothly—it may do this despite the fact that the object we engagement is aversive in some ways. Over (...) longer periods, it plays a critical role in shaping how we engage with objects to get this kind of pleasure from them. This account is yoked to a broadly functional understanding of art: it is not the nature of the object that makes it art, but the nature of the response that it is designed to elicit. The view does not, however, rest on individual psychology alone, as some other functional accounts do. Crucially, it is argued that shared cultural context is a key determinant of the pleasure we derive from aesthetic artefacts. The pleasure of art is always communal and communicative. (shrink)

The most obvious varieties of mental phenomena directed to non- existent objects occur in our experiences of works of art. The task of applying the Meinongian ontology of the non-existent to the working out of a theory of aesthetic phenomena was however carried out not by Meinong by his disciple Stephan Witasek in his Grundzüge der allgemeinen Ästhetik of 1904. Witasek shows in detail how our feelings undergo certain sorts of structural modifications when they are directed towards what does (...) not exist. He draws a distinction between genuine mental phenomena and what he calls `phantasy-material', asserting that `the job of the aesthetic object, whether it is a work of art or a product of nature, is to excite and support the actualisation of phantasy-material in the experiencing subject'. We might think of such phantasy-material as a matter of Ersatz-emotions or emotional `slop'. We could then see Witasek's aesthetics as an elaborate taxonomy of the various different sorts of Ersatz-emotions which the subject allows to be stimulated within himself in his intercourse with works of art, and see works of art themselves as machines for the production of ever more subtle varieties of such phantasy-material in the perceiving subject. (shrink)

The main claim of the paper is that, on Kant's account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, it has the following two features: (1) It is an affective responsiveness to the question: “what is to be felt disinterestedly”? As such, it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object. (2) Its actuality depends on endorsement: actually feeling it involves its endorsement (...) as an attitude to have. I claim that seeing that nature of aesthetic pleasure requires that we divest ourselves of the following dilemma: either feelings are the non-cognitive, passive ways through which we are affected by objects; or they are cognitive states by virtue of the theoretical beliefs they necessarily involve. On my reading of Kant, this dilemma is false. Aesthetic pleasure is neither passive, nor theoretically cognitive, and yet, it is an exercise of rational agency by virtue of belonging to a domain of rationality that is largely overlooked in the history of philosophy, but that deserves, I argue following Kant, our close attention: aesthetic rationality. In the first section, I explain this nature of aesthetic pleasure, and in the second section, I respond to a charge of “over-intellectualism.". (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)

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)

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 (...) class='Hi'>aesthetic value of a work of art is its capacity to elicit from a suitably well-informed consumer a specific kind of pleasure. (shrink)

Schopenhauer repeatedly claims that all pleasure is negative, and this view seems to play key roles throughout his work. Nonetheless, many scholars have argued that Schopenhauer actually acknowledges certain positive pleasures. Two major arguments have been offered for this reading, one focused on the link between Schopenhauer's view of pleasure and Plato's, and one focused on Schopenhauer's distinction between two components of aesthetic pleasure. I argue that neither way of motivating the positive pleasure reading succeeds. (...) Both overlook a key aspect of Schopenhauer's account: namely, his suggestion that there are two distinct kinds of negative pleasure, pleasures of satisfaction and pleasures of distraction. When Schopenhauer claims that all pleasure is negative, he means it. (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.

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)

Stephen Davies’ book The Artful Species is a nuanced and learned attempt to show how evolution does, and does not, account for the human capacity to produce and appreciate beautiful things. In this critical note, his approach to aesthetic pleasure is examined. Aesthetic pleasure, it is argued, is a state that encourages us to continue with our perceptual or intellectual engagement with something. Such pleasure displays a different profile from states that urge us to use (...) an object to satisfy a need, and which terminate when that need has been met. Davies subsumes aesthetic pleasure to the latter kind of state. This is a mistake. (shrink)

McMahon, Jennifer A. Routledge. 2018. pp. 230. £115.

Globally, there are calls to increase physical activity levels in relatively sedentary populations, including via physical activity programmes, often targeted at those body-selves deemed at risk of ‘sedentariness’. Despite the salience of sensory pleasures and displeasures in engagement with (and abandonment of) these programmes, the sensory, embodied experiences of participation remain under-researched. Here, we draw on findings from a two-year ethnographic study of a national programme in Wales, which used the aesthetic attractions of ‘natural’ outdoor environments to encourage and (...) sustain physical activity. Employing insights from phenomenological sociology, we explore the programme participants’ (n=146) lived experiences, analysed via a phenomenological lens, cohering around a panoply of sensory pleasures and displeasures, and somatic learning that is shaped and reshaped by weather encounters. (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)

From Kant’s point of view, the puzzle about judgments of taste is that they claim to normativity—in Kant’s terms, to intersubjective validity or communicability—but nevertheless have only a subjective basis or “determining ground (Bestimmungsgrund).” The task of §9 of the Critique of Judgment in particular is to delineate an account of aesthetic response that accommodates Kant’s solution to this puzzle. If the aesthetic pleasure “precedes” the judgment—in other words, if the judgment is about the pleasure—then the (...) judgment of taste would be merely private, like other judgments about things that cause us pleasure. So the judgment must precede the pleasure. But “nothing… can be universally communicated except cognition, and representation so far as it belongs to cognition. (V:217) Therefore, the determining ground of the judgment of taste must be “the mental state encountered in the relation of the mental powers of representation to each other insofar as they relate a given cognition to cognition in general.” (V:217) A bit later, he calls this state of mind a “feeling of the free play of the powers of representation in a given representation for a given representation for a cognition in general.” The appeal to ‘cognition in general’ can do what Kant needs it to do only if it conveys the normativity of cognition simpliciter but not its conceptual determinacy. I want to propose that we take ‘cognition in general’ to mean ‘integration into a unified system of empirical cognition.’ If I am successful, it will have the consequence that the basis for the normativity of taste— that is, the expectation that others ought to agree with our judgments-- is the same as the basis for the normativity of cognitive judgments. (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)

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)

This paper shows the ways in which Kant’s notions of the feeling of life and the feeling of the promotion of life may be influenced by Epicurus’ theory of pleasure and the Stoic notion of oikeiôsis, respectively. Accordingly, getting a clear picture of Epicurus’ theory of pleasure and the Stoic notion of oikeiôsis will help us (i) understand why Kant introduces these notions in the third Critique and (ii) why he identifies aesthetic pleasure with the feeling (...) of the promotion of life. As I will demonstrate, the feeling of life allows us to be conscious of the harmonious interaction of our faculties with each other while the feeling of the promotion of life allows us to be aware of the harmonious relationship between our faculties and nature. Hence, the feeling of the promotion of life indicates the well-being of the subject in its relation to its environment. (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)

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)

Schiller says that “it is only through beauty that man makes his way to freedom.” Here I attempt to defend a claim in the same spirit as Schiller’s but by different means. My thesis is that a person’s autonomous agency depends on their adopting an aesthetic identity. To act, we need to don contingent features of agency, things that structure our practical thought and explain what we do in very general terms but are neither universal nor necessary features of (...) agency as such. Without these things, the question of what to do for any individual would be underdetermined. The problem is that adopting such a contingent form of agency amounts to a restriction on what we can do, and so it is a prima facie threat to our autonomy. I will argue that one way, and indeed the only way, of meeting this challenge lies in aesthetic experience. Granting our capacity for aesthetic pleasure the authority to determine the particularities of our agency is compatible with autonomy because doing so means identifying with one’s capacity for pleasure in free and creative activity. Doing this allows us to be both particular sorts of agents and creatures regulated by the universalizing demands of reason. (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)

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)

This essay presents the nature of aesthetic judgment, the significance of aesthetic judgment and finally, the relevance of art to understanding aesthetic judgment.

Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s aesthetics is a promising resource for developing a model of aesthetic humility. Initially, however, this may seem like an unpromising starting point as Kant’s aesthetics might appear to promote aesthetic arrogance instead. In spite of this prima facie worry, I claim that Kant’s aesthetics provides an illuminating model of aesthetic (...) humility that sheds light not only on the self- and other-directed attitudes it involves, but also on how aesthetic humility can serve as a corrective to the vices of aesthetic arrogance and aesthetic servility. In addition to revealing the ways in which Kant’s aesthetics prizes humility rather than arrogance, I aim to show that the Kantian model of aesthetic humility can enrich our understanding of humility more generally and contribute to the on-going effort in aesthetics to analyse specific aesthetic virtues and vices. (shrink)

A significant strand of the ethical psychology, aesthetics and politics of Plato's Republic revolves around the concept of poikilia, ‘fascinating variety’. Plato uses the concept to caution against harmful appetitive pleasures purveyed by democracy and such artistic or cultural practices as mimetic poetry. His aim, this article shows, is to contest a prominent conceptual connection between poikilia and beauty (kallos, to kalon). Exploiting tensions in the archaic and classical Greek concept, Plato associates poikilia with dangerous pleasures to redirect admiration toward (...) a distinctly philosophical pursuit of the nature of beauty. This is to displace a prominent and problematic cultural sensibility—the aesthetics of poikilia—not to deny that fascinating variety, even in mimetic poetry, may be beautiful. Rather, Plato's cultural critique lays bare an epistemological problem in the ethical psychology of beauty: since they cannot be distinguished from what seems beautiful, how should one respond to fascinating yet dangerous attractions? (shrink)

The paper highlights analytic aesthetics’ unacknowledged assumption that art is timeless, a view it inherited from Enlightenment thinkers such as Hume and Kant, who in turn inherited it from the Renaissance. This view, I contend, is no longer tenable because it is at odds with our experience of the art of the past. Analytic aesthetics bypasses this dilemma because it confines its attention to topics such as the nature of aesthetic pleasure, whether the appreciation of art should be (...) disinterested and so on, which it partitions off from historical change and encases in a world where time stands still and where, by consequence, the temporal nature of art, including art’s capacity to transcend time, can be ignored. (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)

While I welcome Mohan Matthen’s insistence that art is connected to aesthetic pleasure, I worry about his commitment to viewing pleasure as prior to, and constitutive of, the value of art. I raise my reservations by (i) dispelling his criticism of the reversed explanatory direction, and (ii) showing problems for his commitment. As an alternative, I offer an account of pleasure that explains it in terms of the independent value of art—an account that is free of (...) the problems Matthen raises against this explanatory approach. (shrink)

Feminist aesthetics can be characterized as a critical conceptual framework for analyzing the gender assumptions Western aesthetics, philosophy of the arts and the arts have had and their implications in the categories they have historically employed. It emerged as a result the influence feminism had in the study of gender bias in the artistic production and its reception. Works like Linda Nochlin’s Why Have There Been No Great Women Artists? (1971) and Laura Mulvey’s Visual Pleasure and Narrative Cinema (1975) (...) were fundamental for recognizing the exclusion of women from the history of the great visual artists and how the male gaze is a predominant kind of depiction that satisfies and is designed from a masculine and heterosexual point of view. -/- During the 1970s and 1980s it started the analysis of the male gaze in literature, film and visual arts, but also the women’s artistic production demanding its recognition. However, it was not until the 1990s that philosophical feminist aesthetics was first addressed as an important and necessary area of study with the special issues Feminism and aesthetics (Hein, Korsmeyer 1990) in “Hypatia: a journal of Feminist Philosophy”, and Feminism and traditional aesthetics (Brand, Korsmeyer 1990) in “The Journal of Aesthetics and Art Criticism”. And the first introductory book on the field, Gender and aesthetics: an introduction by Carolyn Korsmeyer (2004) was published during the first decade of the 2000s. -/- Although feminist aesthetics came later than feminist political philosophy, it appeared almost at the same time as feminist perspectives of other philosophical fields, such as epistemology and philosophy of science. Like other feminist approaches to different philosophical domains, there is not a unitary feminist perspective on aesthetics, however, despite the variety of approaches, all implicitly or explicitly demand the recognition of women in its sphere of influence, that is, philosophy and the arts. Nevertheless, contrary to other fields it does not only take contributions from analytic and continental feminism, but also from cultural theory, art history, comparative literature, film theory, psychoanalysis, just to name a few disciplines and theories. Feminist aesthetics’ literature covers a broad range of topics, but the most important are the feminist critique of philosophical aesthetics and the feminist philosophy and theory of the arts. (shrink)

Two assumptions are common in discussions of the paradox of tragedy: (1) that tragic pleasure requires that the work be fictional or, if non-fiction, then non-transparently represented; and (2) that tragic pleasure may be provoked by a wide variety of art forms. In opposition to (1) I argue that certain documentaries could produce tragic pleasure. This is not to say that any sad or painful documentary could do so. In considering which documentaries might be plausible candidates, I (...) further argue, against (2), that the scope of tragic pleasure is limited to works that possess certain thematic and narrative features. (shrink)

Do claims of taste function as validity claims? Our ordinary use of aesthetic notions suggests as much. When I assert that Rodin’s Camille Claudel is ‘beautiful’ I mean my claim to be, in a sense, correct. I expect others to concur and if they do not I think that they are mistaken. But am I justified in attributing an error to the judgment of someone who, unlike me, does not find Rodin’s Camille Claudel beautiful? Not obviously. For it looks, (...) on the other hand, that my assertion “The sculpture of Camille Claudel is beautiful” is not an assertion about a property of that sculpture, not, that is, about a feature of the world which exists for others as well as for me. Quite the opposite, I seem to base my claim on a subjective response, on a certain feeling of mine. I maintain that the sculpture of Camille Claudel is ‘beautiful’ because it produces a particular effect upon me, namely it pleases me aesthetically. But how can the feeling of pleasure, being a subjective response on my part, serve as a normative ground for a claim? (shrink)

According to the scientific image, aesthetic experience is constituted by private reverie or mindless gratification of some kind. This image fails to fully acknowledge the theoretical and hence cultural aspect of perception, which includes aesthetic experience. This chapter reframes aesthetic reflective judgment in terms of perceptual processes (section 2); intentional pleasure (section 3); non-perceptually represented perceptual properties (section 4); and intersubjectivity (section 5). By clarifying the relevant terms, the liberal naturalist account of the sublime provides the (...) link between the sublime and moral motivation (section 6). (shrink)

My aim is to discuss the impact of higher-order evidence on aesthetic appreciation. I suggest that this impact is different with respect to aesthetic beliefs and to aesthetic affective attitudes (such as enjoyment). More specifically, I defend the view that higher-order evidence questioning the reliability of one’s aesthetic beliefs can make it reasonable for one to revise those beliefs. Conversely, in line with a plausible account of emotions, aesthetic affective attitudes are not directly sensitive to (...) this type of higher-order evidence; they are sensitive only to those features of objects that make such attitudes (un)fitting. Thus, I argue, there are cases of non-defective recalcitrant aesthetic attitudes where the subject has both a non-defective, fitting aesthetic affective attitude and a reasonable belief questioning the fittingness of this attitude. I further discuss whether, in this type of case, the subject has decisive reasons to try to change her recalcitrant attitudes—say by trying to modify her aesthetic affective dispositions. My answer is negative. Even granting that subjects always have aesthetic reasons to try to avoid aesthetically unfitting attitudes, these can be outweighed by further reasons not to do so—perhaps including aesthetic reasons related to the construction of valuable aesthetic identities or to the value of aesthetic engagement. (shrink)

I argue that the main existing accounts of the relationship between the beauty of environmental entities and their moral standing are mistaken in important ways. Beauty does not, as has been suggested by optimists, confer intrinsic moral standing. Nor is it the case, as has been suggested by pessimists, that beauty at best provides an anthropocentric source of moral standing that is commensurate with other sources of pleasure. I present arguments and evidence that show that the appreciation of beauty (...) tends to cause a transformational state of mind that is more valuable than mere pleasure, but that leads us to falsely represent beautiful entities as being sentient and, in turn, as having intrinsic moral standing. To this extent, beauty is not, then, a source of intrinsic moral standing; it’s a source of a more important anthropocentric value than has hitherto been acknowledged. (shrink)

Why did Kant write the Critique of Judgment, and why did he say that his analysis of the judgment of taste — his technical term for our enjoyment of beauty — is the most important part of it? Kant claims that his analysis of taste “reveals a property of our faculty of cognition that without this analysis would have remained unknown” (KU §8, 5:213). The clue lies in Kant’s view that while taste is an aesthetic, and non-cognitive, mode of (...) judgment, it nevertheless involves the “free play” of cognitive capacities that is pleasurable in some way that ordinary cognitive business is not. My thesis is that the judgment of taste reveals a pleasure that is not usually apparent when we understand something in particular, but which is nevertheless proper to the activity of understanding as such. This matters, I argue, because in this way the judgment of taste points to a standard of cognitive virtue. (shrink)

In the framework of his transcendental philosophy, Kant strictly separates morality from aesthetics. The pleasure in the good and the pleasure in the beautiful are two different kinds of pleasure (Arten des Wohlgefallens). As a consequence, a moral act as such cannot be beautiful. It is only in a second step that Kant indicates possible connections, in his comments on aesthetic ideas, symbolism, the sensus communis, and education in general. In Confucius on the other hand we (...) do not find such a radical separation between beauty and morality. Ritual is a source of both. Moral acts can be beautiful. One might wonder whether Confucius missed a point, or whether Kant overdid the separation. Or is it that their conceptions are so fundamentally different that they cannot easily be translated and identified across different philosophical traditions? (shrink)

Most commentators think that Plato's account of the varieties of false pleasure is disjointed and that various types of false pleasure he identifies are false in different ways. It really doesn't look that way to me: I think that the discussion is unified, and that Plato starts with less difficult cases to build up to a point about more important but less clear cases. In this paper, I do my best to show how this might work. I don't (...) think I will ever work on this again: the experience of writing this paper and dealing with frustrating refereeing practices has led me to pretty much switch to aesthetics. I'm much happier. But here are the fruits of my labor. I know there are a few details I got wrong (in particular a place or two where I should have scrutinized Frede's translation more closely), but I still think that I'm on the right track. I hope it's useful to someone. (shrink)

This paper examines the relationship between beauty and aesthetic properties to argue that aesthetic properties are connected to a work’s content, to what a work conveys or expresses. I turn to Kant’s Critique of Judgement to make the case. My argument highlights two parts of Kant’s approach. Kant argues that pure aesthetic judgements of beauty are grounded in a harmonious yet free play of the imagination and understanding. Such free play is pleasurable and intimates that the power (...) or capacity of imagination is suitable for and can be brought within the conditions of the capacity for conceptual understanding. Within this broader frame, Kant’s account of artistic beauty specifies the relationship of aesthetic properties to the beauty of a work: aesthetic attributes help convey the aesthetic ideas that beautiful works express. I examine how Kant’s view helps us appreciate that aesthetic properties of artworks are integral to conveying the content of a work, and that the pleasure we feel has the potential to make us aware of the experience, its nature and value. (shrink)

Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part (...) of a larger project in which I develop an account of the pleasure of art. It is a virtue (I claim) of my approach that it permits a much greater diversity of artforms than traditional philosophical aesthetics is inclined to allow. This includes food. (shrink)

All too often women are considered sexy in accordance with an externally dictated and unduly narrow conception of sexiness – one that excludes large portions of the female population from being considered sexy. In response to this, some feminists have suggested that we should give up on sexiness altogether. Since the agency, subjectivity, and autonomy of a woman being judged sexy is generally ignored, they argue, we have, in effect, an equation of sexiness with objecthood. In a recent essay entitled (...) “Sex Objects and Sexy Subjects” Sheila Lintott and Sherri Irvin object to this strategy because they see sexuality as a crucial element of selfhood – something that one cannot simply ‘give up on’. Instead, they propose to reclaim and redefine sexiness in such a way that makes room for women as sexy subjects desiring and pursuing authentic pleasure. In this short paper, I will investigate the merits and shortcomings of their proposal and present an alternative account. (shrink)

In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more (...) accessible to us, by creating image schemas that allow us to think about these abstract concepts in a way linked to sensory experience, thereby imbuing them with a more substantive meaning and understanding. (shrink)

Spinoza rarely refers to art. However, there are extensive resources for a Spinozist aesthetics in his discussion of health in the Ethics and of social affects in his political works. There have been recently been a few essays linking Spinoza and art, but this essay additionally fuses Spinoza’s politics to an affective aesthetics. Spinoza’s statements that art makes us healthier (Ethics 4p54Sch; Emendation section 17) form the foundation of an aesthetics. In Spinoza’s definition, “health” is caused by external objects that (...) maintain our power to act in a variety of ways. Humans need such objects because our complex bodies constantly lose or consume many parts necessary to our overall functioning. Notably, Spinoza defines humans’ bodies through this complexity (2p13Sch), so health as maintenance of complexity is a distinctly human endeavor. Further, while art is not the only healthy activity, I argue that art is a particularly potent cure, which explains Spinoza’s otherwise opaque comment that music can cure melancholy (by which he meant a near-total inability to act, akin to death). Rather than only causing frivolous pleasures, art may be as essential to human flourishing as are other human beings in general; other people are “most useful” because of the variety of actions they make possible (4p35Cor & Sch1). Art’s production of a dizzying variety of affects is likewise most useful for health. -/- Having established how art in general affects the individual, I then explain the role of artists in shaping social groups. Artists use vivid and highly charged affective techniques, as do political sovereigns and religious prophets (TTP chapters 1-2 & 15-16). However, sovereigns and prophets are concerned exclusively with “morality,” defined by Spinoza as the use of affects (primarily based on fear and hope) to produce “obedience” in the generic multitude or people at large. An artist, however, rarely causes affects in the whole nation, affecting instead only a smaller niche or “sub-genre” of people. The affects produced in this group are also not identical to those used by sovereigns, since artists do not primarily deploy sad affects of hope and fear but instead use a wide variety of joyful affects. Further, in Spinoza’s analysis of ceremonies (TTP chapter 5), we see how small groups exposed to repeated ceremonies or social practices eventually develop new strengths which they lacked before. Repeated exposure to shared aesthetic “ceremonies” (e.g., live music performances) of the same sub-genre will over time create the capacity of new powers in the sub-genre of people, which distinguishes them from the masses. Spinoza says sovereigns forge a “second nature” for the generic people through affects; we can then affirm that smaller groups exposed to a distinct sub-genre of art can acquire a new “third nature” which will contain unique powers extending beyond healthy maintenance of their existing bodies. That is, art in general is necessary to flourish and remain whole (maintaining health), but it can also occasionally expand what one is to unforeseen heights (through specific artistic sub-genres). (shrink)

This is a short popular version of my views on aesthetic pleasure published in the online magazine, Aeon.

Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a means to the Good. The ascent theory of the Symposium has suggested to some commentators that Plato envisaged two kinds of beauty, the sensuous and the intellectual, and that to reach the Good we must transcend our sensuous desires and cultivate an appreciation of intellectual beauty. However, in the Laws Plato presents us with a third notion of beauty, which is neither (...) sensuous nor intellectual. To experience beauty we need to cultivate our pleasure in harmonious forms. This is where we find a theory of beauty that resonates in Kant’s aesthetic theory. According to the latter, the feeling for beauty is a feeling for harmony that takes us beyond the confines of a world marked out by self-interest. I conclude that Plato’s aesthetic theory anticipates the role that aesthetic judgment would play in Immanuel Kant’s system of the mind. (shrink)