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 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)

The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained (...) by supposing that testimony is usable for action, but unusable for doxastic repetition. I consider a new asymmetry in the usability aesthetic testimony. Consider the following cases: we seem unwilling to accept somebody hanging a painting in their bedroom based merely on testimony, but entirely willing to accept hanging a painting in a museum based merely on testimony. The switch in intuitive acceptability seems to track, in some complicated way, the line between public life and private life. These new cases weigh against a number of standing theories of aesthetic testimony. I suggest that we look further afield, and that something like a sensibility theory, in the style of John McDowell and David Wiggins, will prove to be the best fit for our intuitions for the usability of aesthetic testimony. I propose the following explanation for the new asymmetry: we are willing to accept testimony about whether a work merits being found beautiful; but we are unwilling to accept testimony about whether something actually is beautiful. (shrink)

I propose a new account of the limits of aesthetic testimony. One of this new account's main claims is that, among the kinds of aesthetic cognitive achievements, it is useful to distinguish aesthetic understanding. In particular, I suggest that the aesthetic understanding of X involves an understanding of why X is aesthetically valuable. In turn, aesthetic understanding is essentially connected to the deployment of aesthetic concepts. Given the fine-grained structure of some of these (...) concepts, certain forms of testimony are not adequate to acquire them. (shrink)

Is testimony a legitimate source of aesthetic belief? Can I, for instance, learn that a film is excellent on your say-so? Optimists say yes, pessimists no. But pessimism comes in two forms. One claims that testimony is not a legitimate source of aesthetic belief because it cannot yield aesthetic knowledge. The other accepts that testimony can be a source of aesthetic knowledge, yet insists that some further norm prohibits us from exploiting that resource. (...) I argue that this second form of pessimism has certain advantages over the first. I offer two candidates for the non-epistemic norm that, on this view, stands in the way of our taking aesthetic testimony. And I argue that this form of pessimism meets a challenge to pessimism in general – that of explaining why, if testimony cannot be a legitimate source of aesthetic belief, we can nonetheless rightly rely on the aesthetic recommendations of others. (shrink)

If a reliable testifier tells you that a song is beautiful or that an act is wrong, do you thereby have a reason to approve of the painting and disapprove of the agent's action? Many insist that we don’t: normative testimony does not give us reasons for affective attitudes like approval. This answer is often treated as a datum in the literatures on moral and aesthetic testimony. I argue that once we correct for a common methodological mistake (...) in these literatures, the answer must be Yes. I then show why this matters for the broader discussion of the puzzle(s) posed by deference to moral and aesthetic testimony. (shrink)

Call the view that it is possible to acquire aesthetic knowledge via testimony, optimism, and its denial, pessimism. In this paper, I offer a novel argument for pessimism. It works by turning attention away from the basis of the relevant belief, namely, testimony, and toward what that belief in turn provides a basis for, namely, other attitudes. In short, I argue that an aesthetic belief acquired via testimony cannot provide a rational basis for further attitudes, (...) such as admiration, and that the best explanation for this is that the relevant belief is not itself rational. If a belief is not rational, it is not knowledge. So, optimism is false. After addressing a number of objections to the argument, I consider briefly its bearing on the debate concerning thick evaluative concepts. While the aim is to argue that pessimism holds, not to explain why it holds, I provide an indication in closing of what that explanation might be. (shrink)

There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can (...) explain the supposed peculiar difficulty with aesthetic testimony. (shrink)

Pessimists about aesthetic testimony argue that it is inappropriate to rely on other people’s aesthetic judgments in forming our own aesthetic beliefs. Some suggest that such reliance violates an epistemic norm, others that it violates a non-epistemic norm. In making their case, pessimists offer several arguments. They also put forward cases meant to elicit pessimist intuitions. In this paper, I claim that none of the main pessimist arguments succeeds against a plausible version of optimism, that is, (...) the view that reliance on testimony in aesthetic matters is appropriate. However, I suggest also that pessimist intuitions have a certain pull that optimists must account for. My second task is to explain the force of pessimist intuitions by shedding new light on their source. (shrink)

I present a puzzle – the “puzzle of aesthetic testimony” – along with a solution to it that appeals to the impossibility of testimonial understanding. I'll criticize this solution by defending the possibility of testimonial understanding, including testimonial aesthetic understanding.

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

there seems to be some kind of asymmetry, at least in some cases, between moral testimony and non-moral testimony, between aesthetic testimony and non-aesthetic testimony, and between religious testimony and non-religious testimony. In these domains, at least in some cases, we object to deference, and for this reason expect people to form their beliefs on non-testimonial grounds, in a way that we do not object to deference in paradigm cases of testimonial knowledge. (...) Our philosophical puzzle is therefore: what explains these (apparent) asymmetries (or are they merely apparent)? My aim here is to criticize three accounts of these testimonial asymmetries and to suggest an alternative strategy for solving our puzzle. I’ll consider the idea that testimony cannot be a source of understanding (§2), the idea that testimony cannot be a source of acquaintance (§3), and the idea that testimonial belief is not conducive to moral virtue (§4). These accounts all explain the badness of testimonial belief, in the relevant cases, by appeal to its consequences for the believer—respectively, a lack of understanding, acquaintance, or moral virtue. I’ll conclude by suggesting a way forward (§5): we should try to understand the badness of testimonial belief, in the relevant cases, as deriving from its consequences for the believer’s society. (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)

ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and (...) argues for an alternative view, according to which aesthetic discourse expresses affective states of mind, analogously to how assertions express beliefs. It is because these affective states require first-hand experience that aesthetic discourse communicates that such acquaintance is at hand. The paper furthermore argues that the lack of an experience requirement for aesthetic belief ascriptions constitutes a problem for the kind of expressivist who claims that evaluative belief states are covert non-cognitive states. (shrink)

Accounts of aesthetic valuing emphasize two constraints on the formation of aesthetic belief. We must form our own aesthetic beliefs by engaging with aesthetic value first-hand (the acquaintance principle) and by using our own capacities (the autonomy principle). But why? C. Thi Nguyen’s proposal is that aesthetic valuing has an inverted structure. We often care about inquiry and engagement for the sake of having true beliefs, but in aesthetic engagement this is flipped: we care (...) about arriving at good aesthetic beliefs for the sake of the values that arise in the process of doing so. The engagement is the point, so we must use our own capacities in first-hand encounters. Here I challenge Nguyen’s account. I argue that it misconstrues the value of aesthetic belief; it conflicts with restrictions on aesthetic testimony; and it has trouble harnessing engagement-value for a theory of aesthetic value. A better approach emphasizes the social character of aesthetic valuing. On this view, aesthetic valuing is a social practice structured around the collaborative exercise and improvement of certain special capacities. The autonomy and acquaintance principles tell us to engage these capacities in forming our aesthetic beliefs. Understood aright, and contrary to consensus, these rules are identical. (shrink)

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

I propose an account of aesthetic value, where aesthetic value lies in the process of aesthetic engagement: in our activity of perceiving, guiding our attention, interpreting, and otherwise wrestling with aesthetic objects. It also includes our social activities of engagement: arguing with each other, writing criticism, making top-ten lists. (This is a short summary of a view developed in greater detail elsewhere.).

The article presents a critique of aesthetic realism. The core of this theory contains three theses: (AR) aesthetic properties are the sources of aesthetic experience; (PA) perceptual acquaintance with the objects of aesthetic evaluation is a sine qua non condition for making an judgment; (DM) aesthetic properties are describable. Arguments of faultless disagreement, esse is percipi, and zombie art cast doubt on theses (AR) and (DM). Based on this critique, an alternative nominalist theory of (...) class='Hi'>aesthetic experience is proposed, in which the perceptual properties of the object are considered as sufficient condition of aesthetic experience. (shrink)

Making an adequate aesthetic judgment about an object or an aesthetic property requires first-hand experience of that object or property. Many have suggested that this principle is a valid epistemic norm in the epistemology of the aesthetic. However, some recent philosophers have argued that certain works of conceptual art and other counterexamples disprove the principle in question, even suitably modified. In this paper, I argue that these philosophers are mistaken and that, when properly qualified, the acquaintance principle (...) (in some of its versions) is not threatened by their examples and arguments. (shrink)

What is the source of aesthetic knowledge? Empirical knowledge, it is generally held, bottoms out in perception. Such knowledge can be transmitted to others through testimony, preserved by memory, and amplified via inference. But perception is where the rubber hits the road. What about aesthetic knowledge? Does it too bottom out in perception? Most say “yes”. But this is wrong. When it comes to aesthetic knowledge, it is appreciation, not perception, where the rubber hits the road. (...) The ultimate source of aesthetic knowledge is feeling. In this essay, we articulate and defend the very idea of affective knowledge and reveal aesthetic knowledge to be a species of the genus. We then show how the view resolves a thorny problem that has bedeviled aesthetic epistemologists: how to reconcile the seemingly direct character of aesthetic knowledge with the possibility of acquiring such knowledge from criticism. One learns from criticism, we argue, when it guides one’s engagement with an object so that one can appreciate it in virtue of those of its features that render it worthy of appreciation. (shrink)

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public (...) philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

Aesthetic non-inferentialism is the widely-held thesis that aesthetic judgements either are identical to, or are made on the basis of, sensory states like perceptual experience and emotion. It is sometimes objected to on the basis that testimony is a legitimate source of such judgements. Less often is the view challenged on the grounds that one’s inferences can be a source of aesthetic judgements. This paper aims to do precisely that. According to the theory defended here, (...) class='Hi'>aesthetic judgements may be unreasoned, insofar as they are immediate judgements made on the basis of, and acquiring their justification from, causally prior sensory states. Yet they may also be reasoned, insofar as they may be the outputs of certain inferences. Crucially, a token aesthetic judgement may be unreasoned and reasoned, simultaneously. A key reason for allowing inference a serious role in aesthetic judgements emerges from reflection upon the nature of aesthetic expertise. (shrink)

Our life with art is suffused with trust. We don’t just trust one another’s aesthetic testimony; we trust one another’s aesthetic actions. Audiences trust artists to have made it worth their while; artists trust audiences to put in the effort. Without trust, audiences would have little reason to put in the effort to understand difficult and unfamiliar art. I offer a theory of aesthetic trust, which highlights the importance of trust in aesthetic sincerity. We trust (...) in another’s aesthetic sincerity when we rely on them to fulfill their commitments to act for aesthetic reasons — rather than for, say, financial, social, or political reasons. We feel most thoroughly betrayed by an artist, not when they make bad art, but when they sell out. This teaches us something about the nature of trust in general. According to many standard theories, trust involves thinking the trusted to be cooperative or good-natured. But trust in aesthetic sincerity is different. We trust artists to be true to their own aesthetic sensibility, which might involve selfishly ignoring their audience’s needs. Why do we care so much about an artist’s sincerity, rather than merely trusting them to make good art? We emphasize sincerity when wish to encourage originality, rather than to demand success along predictable lines. And we ask for sincerity when our goal is to discover a shared sensibility. In moral life, we often try to force convergence through coordinated effort. But in aesthetic life, we often hope for the lovely discovery that our sensibilities were similar all along. And for that we need to ask for sincerity, rather than overt coordination. (shrink)

I propose to study one problem for epistemic dependence on experts: how to locate experts on what I will call cognitive islands. Cognitive islands are those domains for knowledge in which expertise is required to evaluate other experts. They exist under two conditions: first, that there is no test for expertise available to the inexpert; and second, that the domain is not linked to another domain with such a test. Cognitive islands are the places where we have the fewest resources (...) for evaluating experts, which makes our expert dependences particularly risky. -/- Some have argued that cognitive islands lead to the complete unusability of expert testimony: that anybody who needs expert advice on a cognitive island will be entirely unable to find it. I argue against this radical form of pessimism, but propose a more moderate alternative. I demonstrate that we have some resources for finding experts on cognitive islands, but that cognitive islands leave us vulnerable to an epistemic trap which I will call runaway echo chambers. In a runaway echo chamber, our inexpertise may lead us to pick out bad experts, which will simply reinforce our mistaken beliefs and sensibilities. (shrink)

In our life with science, we trust experts; we form judgements by inference from past evidence. We conduct ourselves very differently in the aesthetic domain. We avoid deferring to aesthetic experts. We form our judgements through direct perception of particulars rather than through inference. Why the difference? I suggest that we avoid aesthetic testimony and aesthetic inference, not because they’re unusable, but because we have adopted social norms to avoid them. Aesthetic appreciation turns out (...) to be something like a game. We have laid down certain rules and restrictions in order to shape a kind of activity we cherish. And aesthetic properties turn out to be a kind of social construct. Much like the goal of a game, they are constituted in part by our obedience to certain rules. The norms of aesthetic life are different from those of science because our purposes are different. We engage in science to get the right answers; we engage in aesthetic appreciation to be absorbed in the activity of the sensuous perception of particulars. Our aesthetic practices are a constructed shelter from science; they restore to us a small domain where we may once again engage in our own sensuous perception of particulars. (shrink)

The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just (...) as obvious to many philosophers that aesthetic judgment requires first-person experience. In this article we argue that, despite its initial appeal, the claim that gustatory and critical judgments are analogous in this way is mistaken. The two sorts of judgments are, as a matter of fact, similar in their epistemology, but earlier theorists have got things entirely backward—neither gustatory judgment nor aesthetic judgment requires first-hand acquaintance with their objects. Our particular focus in this article is on arguing that first-person experience is not required to know how an item of food or drink tastes. In fact, there are a wide variety of ways in which we can acquire this knowledge. (shrink)

When travelling to a new city, we acquire knowledge about its physical terrain, directions, historical facts and aesthetic features. Engaging in tourism practices, such as guided walking tours, provides experiences of a city that are necessarily mediated and partial. This has led scholars in tourism studies, and more recently in philosophy, to question the epistemological value of city tours, critiquingthem as passive, lacking in autonomous agency, and providing misrepresentative experiences of the city. In response, we argue that the mediated (...) and partial knowledge of a city acquired through city tours is not epistemologically disvaluable. Although city tours involve the transmission of testimonial knowledge, this does not necessarily render tourists as passive and non-autonomous. Instead,tourists have the potential to participate in the generation of their knowledge actively. Moreover, we argue that city tours also provide a tourist with valuable ‘objectual’ knowledge of a city, whichhas the potential to be first-personal and active, and does not necessarily misrepresent the city’s identity. This type of knowledge is valuable both for tourists as credible epistemic agents, and for the city itself, as the knowledge generated by the tour can facilitate an accurate representation of the city and promote social transformation. We conclude by highlighting four further epistemic and ethical implications of our argument. (shrink)

In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial (...) tone in which Wittgenstein shares his observation with the reader, but also the lack of long-winded arguments or explanations. In the concluding part I suggest that we can read Wittgenstein’s artworks of a specific kind: as philosophical works of art. (shrink)

[from the publisher's website] Questions about the existence and attributes of God form the subject matter of natural theology, which seeks to gain knowledge of the divine by relying on reason and experience of the world. Arguments in natural theology rely largely on intuitions and inferences that seem natural to us, occurring spontaneously—at the sight of a beautiful landscape, perhaps, or in wonderment at the complexity of the cosmos—even to a nonphilosopher. In this book, Helen De Cruz and Johan De (...) Smedt examine the cognitive origins of arguments in natural theology. They find that although natural theological arguments can be very sophisticated, they are rooted in everyday intuitions about purpose, causation, agency, and morality. Using evidence and theories from disciplines including the cognitive science of religion, evolutionary ethics, evolutionary aesthetics, and the cognitive science of testimony, they show that these intuitions emerge early in development and are a stable part of human cognition. -/- De Cruz and De Smedt analyze the cognitive underpinnings of five well-known arguments for the existence of God: the argument from design, the cosmological argument, the moral argument, the argument from beauty, and the argument from miracles. Finally, they consider whether the cognitive origins of these natural theological arguments should affect their rationality. (shrink)

Disagreement is common: even informed, intelligent, and generally reasonable people often come to different conclusions when confronted with what seems to be the same evidence. Can the competing conclusions be reasonable? If not, what can we reasonably think about the situation? This volume examines the epistemology of disagreement. Philosophical questions about disagreement arise in various areas, notably politics, ethics, aesthetics, and the philosophy of religion: but this will be the first book focusing on the general epistemic issues arising from informed (...) disagreement. Ten leading philosophers offer specially written essays which together will offer a starting-point for future work on this topic. (shrink)

According to Kant, the singular judgement ‘This rose is beautiful’ is, or may be, aesthetic, while the general judgement ‘Roses in general are beautiful’ is not. What, then, is the logical relation between the two judgements? I argue that there is none, and that one cannot allow there to be any if one agrees with Kant that the judgement ‘This rose is beautiful’ cannot be made on the basis of testimony. The appearance of a logical relation between the (...) two judgements can, however, be explained in terms of what one does in making a judgement of taste. Finally, I describe an analogy between Kant's treatment of judgements of taste and J. L. Austin's treatment of explicit performative utterances, which I attribute to a deeper affinity between their respective projects. (shrink)

Through the 'Spiritual Affections' of the Abbess of Tunja, Sister Francisca Josefa de la Concepción del Castillo, a reflection on colonial art is posed around the question of its apparent usefulness as a 'vehicle of evangelization', investigating its genuine purpose in the mysticism of the Mother of the Castle and the relationship of her work with Him. The aesthetic purpose of the work of colonial art is to bring the Divine closer to the human, trying to reflect and communicate (...) the testimony of a mystical spiritual search and experience lived by the author, inspired and revealed by God. -/- A través de los 'Afectos Espirituales' de la Abadesa de Tunja, Sor Francisca Josefa de la Concepción del Castillo, se plantea una reflexión acerca del arte colonial en torno a la cuestión de su aparente utilidad como 'vehículo de evangelización', indagando su genuino propósito en el misticismo de la Madre del Castillo y la relación de su obra con Él. Se planteará que el propósito estético de la obra de arte colonial es acercar lo Divino a lo humano, intentado reflejar y comunicar el testimonio de una búsqueda y experiencia espiritual mística vivenciada por la autora, inspirada y develada por Dios. (shrink)

The concept of expression has always held an important place in Fernando Gil’s thought. The author’s reflection on the idea of expression is well reflected among his writings – either in his early essays or throughout his entire work –, attaining a special focus in the lectures that he gave at Johns Hopkins University during the years of 2002, 2003 and 2004. Actually, these lectures represent the strongest testimony of the relevancy given by Fernando Gil to this concept. However, (...) despite being a concept which crosses all his work, clearly having a central place in his thought, Fernando Gil never got to write a systematic theory on the concept of expression. Thus, closely following the author’s works, the main purpose of this study is to suggest a personal vision of what could have been Fernando Gil’s theory on expression. Combining some of the main ideas of Johns Hopkins lectures to some fundamental notions of Fernando Gil’s thought, we will try to show that Fernando Gil’s theory on expression is a theory on the ordination of thought, on cognitive construction and, above all, a theory on the elevation of thought to what shall be considered its higher modality, the aesthetical thought. In fact, our major hypothesis is that Fernando Gil’s theory on expression is not only a cognitive theory but also an aesthetical one. As such, its major guidelines shall be: to explain the adequacy of expression to its objects; to show how expression evolves according to the cognitive development of the subject; and, finally, to explain and to justify the elevation of thought to universality, harmony and beauty. (shrink)

This book is an anthology about transformation processes. It brings together contributions that were made during the 16th International Congress of the German Society for Semiotics 2021. Due to the Corona pandemic, it was finally not held in attendance at the TU Chemnitz, in Germany, but took place online. 11 sections with different focuses from archaeology, architecture, design, digital humanities, on the body, from the field of literature & youth and subcultures, media, fashion, environment, and carto/atlas semiotics and sign philosophy (...) had each published their own call for papers. -/- The focus of the IMAGE & Cultural study sections' call, published with the volume, was to understand images as agents - according to art and cultural studies scholar Aby M. Warburg - and to recognize and understand not only their potential for cognition, but also their potential for action. As an active part of culture, they not only convey it, but at the same time stimulate action. In this respect, images can be understood not only as documents and testimonies of collective history, but also as active carriers and repositories of affectively effective elements of communication. As agents of cultural transformation processes, images take on a status of their own within the human capacity for expression and action. The essays in this volume bear eloquent witness to this. (shrink)

According to some pessimists, trusting moral testimony is an action in which the agent does not think about moral questions by herself, and thus it is unacceptable. I argue for optimism by giving some reasons to display moral agents are still depending upon their own in many cases of moral testimony. Specifically, I argue that testimony is a form of social cooperation: the division of epistemic labor. My strategy is as follows: First, I give a principle to (...) show when an agent could reasonably trust moral testimony. Specifically, an agent could reasonably accept the testimony, when she can reasonably expect she would make the same or similar judgment with the testifier. Second, I show how moral testimony could work as a form of social cooperation. Given the principle of the same judgment, it is reasonable for the agent to form a moral belief and act with moral testimony. And it provides us higher efficiency in moral knowledge and shows respect for each moral agent. After that, I provide explanations for the problem of moral disagreement and moral understanding with such a principle for moral testimony. Finally, I respond to some possible objections and give some clarifications of my argument. (shrink)

Can we transmit understanding via testimony in more or less the same way in which we transmit knowledge? The standard view in social epistemology has a straightforward answer: no, we cannot. Three arguments supporting the standard view have been formulated so far. The first appeals to the claim that gaining understanding requires a greater cognitive effort than acquiring testimonial knowledge does. The second appeals to a certain type of epistemic trust that is supposedly characteristic of knowledge transmission (and maybe (...) of the transmission of epistemic goods in general) and that is allegedly incompatible with understanding. The third aims to show that there is a certain aspect of understanding (what epistemologists these days like to call “grasping”) that cannot be passed on to another person via testimony alone. In this article, I show that all of these arguments can be resisted. Thus, there seem to be no compelling reasons to embrace the standard view. (shrink)

This article discusses the following question: what epistemic relation must audiences bear to the content of assertions in order to gain testimonial knowledge? There is a brief discussion of why this issue is of importance, followed by two counterexamples to the most intuitive answer: that in order for an audience to gain testimonial knowledge that p they must know that the speaker has asserted p. It is then suggested that the argument generalises and can be made to work on different (...) sets of assumptions about the conditions for knowledge, and the conditions under which a proposition is asserted. (shrink)

In the epistemology of testimony it is often assumed that audiences are able to reliably recover asserted contents. In the philosophy of language this claim is contentious. This paper outlines one problem concerning the recovery of asserted contents, and argues that it prevents audiences from gaining testimonial knowledge in a range of cases. The recovery problem, in essence, is simply that due to the collective epistemic limitations of the speaker and audience speakers will, in certain cases, be insensitive to (...) the ways in which they may be misinterpreted. As a result audiences’ beliefs will often fail the safety and sensitivity conditions on knowledge. Once the problem has been outlined and distinguished from several related problems in the philosophy of language and the epistemology of testimony, a series of responses are considered. The first response holds that audiences possess defeaters in recovery problem cases, and thus wouldn’t form beliefs. The second response holds that the beliefs audiences form are very coarse grained, meaning they are not very vulnerable to failures of safety and sensitivity. The final response holds that the objects of speaker meaning are not propositional. All three responses are found to be unsatisfactory. (shrink)

Jennifer Lackey ('Testimonial Knowledge and Transmission' The Philosophical Quarterly 1999) and Peter Graham ('Conveying Information, Synthese 2000, 'Transferring Knowledge' Nous 2000) offered counterexamples to show that a hearer can acquire knowledge that P from a speaker who asserts that P, but the speaker does not know that P. These examples suggest testimony can generate knowledge. The showpiece of Lackey's examples is the Schoolteacher case. This paper shows that Lackey's case does not undermine the orthodox view that testimony cannot (...) generate knowledge. This paper explains why Lackey's arguments to the contrary are ineffective for they misunderstand the intuitive rationale for the view that testimony cannot generate knowledge. This paper then elaborates on a version of the case from Graham's paper 'Conveying Information' (the Fossil case) that effectively shows that testimony can generate knowledge. This paper then provides a deeper informative explanation for how it is that testimony transfers knowledge, and why there should be cases where testimony generates knowledge. (shrink)

Here are three (rough) theories of testimonial knowledge. (1) Speaker's knowledge: a hearer acquires the knowledge that P though testimony because of the speaker's knowledge that P--testimony "transfers" knowledge. This is the popular view, defended by Elizabeth Fricker and Paul Faulkner, among others. (2) Speaker's assertion: a hearer acquires the knowledge that P through testimony because the speaker's assertion that P is reliable that P in the right way (safe or sensitive). That's Jennifer Lackey's view. (3) Speaker's (...) comprehension state: a hearer acquired the knowledge that P through comprehending as of a speaker's assertion that P where the comprehension state is reliable in the right way (safe). That's my view. Lackey would reject such a view for it allows cases of testimonial knowledge that P from a speaker who did not assert that P. But Faulkner might reject Lackey's view on the grounds that it allows cases of testimonial knowledge that P from a speaker who did not know that P. Lackey replies that her account is better unified. But for the same reason, my account is even better unified. This paper runs through a series of cases and shows that my account--the Unified Account--is superior to the others. (shrink)

I outline what I call the ‘deniability problem’, explain why it is problematic, and identify the range of utterances to which it applies (using religious discourse as an example). The problem is as follows: To assign content to many utterances audiences must rely on their contextual knowledge. This generates a lot of scope for error. Thus, speakers are able to make assertions and deny responsibility for the proposition asserted, claiming that the audience made a mistake. I outline the problem (a (...) limited version of which Fricker 2012 discusses), before explaining why it is problematic. Firstly it blocks testimonial knowledge according to assurance views. Secondly it prevents epistemic buck passing (the importance of which is emphasized by Goldberg 2006 and McMyler 2013). Finally, it removes a key disincentive to dishonesty. The recent literature on context sensitivity (particularly Cappelen and Lepore 2004) seems to entail that the problem applies to a very wide range of utterances. I consider a series of responses which fail to provide a solution, but which help us narrow down the scope of the problem. (shrink)

That testimony is one of the principle bases on which many people hold their religious beliefs is hard to dispute. Equally hard to dispute is that our world contains an array of mutually incompatible religious traditions each of which has been transmitted down the centuries chiefly by way of testimony. In light of this latter it is quite natural to think that there is something defective about holding religious beliefs primarily or solely on the basis of testimony (...) from a particular tradition. The present chapter takes up the question of what that defect consists in. I first consider whether religious diversity entails that a religious believer’s testimony-based beliefs are not formed in a suitably epistemically reliable manner even conditional upon the truth of her religion. After casting doubt on this thought I turn to look at the idea that testimony-based beliefs are subject to defeaters in light of awareness of religious diversity, and I suggest that many such beliefs are not obviously so. According to my diagnosis the problem, rather, is that believers who base their religious beliefs just on testimony will be very unlikely to have reflective (that is, second-order) knowledge even if they possess first-order knowledge, and I explain why this is a notable shortcoming. (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)

The ability to interact in a natural language profoundly changes devices’ interfaces and potential applications of speaking technologies. Concurrently, this phenomenon challenges our mainstream theories of knowledge, such as how to analyze linguistic outputs of devices under existing anthropocentric theoretical assumptions. In section 1, I present the topic of machines that speak, connecting between Descartes and Generative AI. In section 2, I argue that accepted testimonial theories of knowledge and justification commonly reject the possibility that a speaking technological artifact can (...) give testimony. In section 3, I identify three assumptions underlying the view that rejects conversational AIs – AI-based technologies that converse, as testifiers: conversational AIs (1) lack intentions, (2) cannot be normatively assessed, and (3) cannot constitute an object in trust relations, while humans can. In section 4, I propose the concept ‘AI-testimony’ for analyzing outputs of conversational AIs, suggesting three conditions for technologies to deliver AI-testimony: (1) content is propositional, (2) generated and delivered with no other human directly involved, (3) the output is perceived as phenomenologically similar to that of a human. I conclude that this concept overcomes the limitations of the anthropocentric concept of testimony, opening future directions of research without associating conversational AIs with human-like agency. (shrink)

In this paper I defend the claim that testimony can serve as a basic source of knowledge of other people’s mental lives against the objection that testimonial knowledge presupposes knowledge of other people’s mental lives and therefore can’t be used to explain it.

Jennifer Lackey’s case “Creationist Teacher,” in which students acquire knowledge of evolutionary theory from a teacher who does not herself believe the theory, has been discussed widely as a counterexample to so-called transmission theories of testimonial knowledge and justification. The case purports to show that a speaker need not herself have knowledge or justification in order to enable listeners to acquire knowledge or justification from her assertion. The original case has been criticized on the ground that it does not really (...) refute the transmission theory, because there is still somebody in a chain of testifiers—the person from whom the creationist teacher acquired what she testifies—who knows the truth of the testified statements. In this paper, we provide a kind of pattern for generating counterexample cases, one that avoids objections discussed by Peter Graham and others in relation to such cases. (shrink)

Speakers offer testimony. They also hedge. This essay offers an account of how hedging makes a difference to testimony. Two components of testimony are considered: how testimony warrants a hearer's attitude, and how testimony changes a speaker's responsibilities. Starting with a norm-based approach to testimony where hearer's beliefs are prima facie warranted because of social norms and speakers acquire responsibility from these same norms, I argue that hedging alters both components simultaneously. It changes which (...) attitudes a hearer is prima facie warranted in forming in response to testimony, and reduces how much responsibility a speaker undertakes in testifying. A consequence of this account is that speakers who hedge for strategic purposes deprive their hearers of warrant for stronger doxastic attitudes. (shrink)

I argue, first, that testimony is likely a natural kind (where natural kinds are accurately described by the homoeostatic property cluster theory) and that if it is indeed a natural kind, it is likely necessarily reliable. I argue, second, that the view of testimony as a natural kind and as necessarily reliable grounds a novel, naturalist global reductionism about testimonial justification and that this new reductionism is immune to a powerful objection to orthodox Humean global reductionism, the objection (...) from the too-narrow induction base. (shrink)

Epistemologists typically assume that the acquisition of knowledge from testimony is not threatened at the stage at which audiences interpret what proposition a speaker has asserted. Attention is instead typically paid to the epistemic status of a belief formed on the basis of testimony that it is assumed has the same content as the speaker’s assertion. Andrew Peet has pioneered an account of how linguistic context sensitivity can threaten the assumption. His account locates the threat in contexts in (...) which an audience’s evidence under-determines which proposition a speaker is asserting. I argue that Peet’s epistemic uncertainty account of the threat is mistaken and I propose an alternative. The alternative locates the threat in contexts that provide factors that give audiences a mistaken psychological certainty or confidence that a speaker has asserted a proposition she has not. (shrink)

Transmission views of testimony hold that a speaker's knowledge or justification can become the audience's knowledge or justification. We argue that transmission views are incompatible with the hypothesis that one's epistemic state, together with one's practical circumstances, determines what actions are rationally permissible for an agent. We argue that there are cases where, if the speaker's epistemic state were transmitted to the audience, then the audience would be warranted in acting in particular ways. Yet, the audience in these cases (...) is not so warranted, as their strength of justification does not come close to the speaker's. (shrink)