Results for 'aesthetic value'

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  1. On Liking Aesthetic Value.Keren Gorodeisky - 2021 - Philosophy and Phenomenological Research 102 (2):261-280.
    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 (...). 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)
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  2. The Default Theory of Aesthetic Value.James Shelley - 2019 - British Journal of Aesthetics 59 (1):1-12.
    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. (...)
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  3. Constructing Aesthetic Value: Responses to My Commentators.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):100-111.
    This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of (...)
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  4. Aesthetic Value, Artistic Value, and Morality.Andrea Sauchelli - 2016 - In David Coady, Kimberley Brownlee & Kasper Lipper-Rasmussen (eds.), Blackwell Companion to Applied Philosophy. Blackwell. pp. 514-526.
    This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.
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  5. The Aesthetic Value of the World.Tom Cochrane - forthcoming - Oxford, UK: Oxford University Press.
    This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all (...) values are distal versions of practical values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)
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  6. The Relationship Between Aesthetic Value and Cognitive Value.Antony Aumann - 2014 - Journal of Aesthetics and Art Criticism 72 (2):117-127.
    Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of (...)
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    Toward a Communitarian Theory of Aesthetic Value.Nick Riggle - forthcoming - Journal of Aesthetics and Art Criticism.
    Our paradigms of aesthetic value condition the philosophical questions we pose and hope to answer about it. Theories of aesthetic value are typically individualistic, in the sense that the paradigms they are designed to capture, and the questions to which they are offered as answers, center the individual’s engagement with aesthetic value. Here I offer some considerations that suggest that such individualism is a mistake and sketch a communitarian way of posing and answering questions (...)
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  8. A Structural Disanalogy Between Aesthetic and Ethical Value Judgements.Caj Strandberg - 2010 - British Journal of Aesthetics 51 (1):51-67.
    It is often suggested that aesthetic and ethical value judgements are similar in such a way that they should be analysed in analogous manners. In this paper, I argue that the two types of judgements share four important features concerning disagreement, motivation, categoricity, and argumentation. This, I maintain, helps to explain why many philosophers have thought that aesthetic and ethical value judgements can be analysed in accordance with the same dispositional scheme which corresponds to the analogy (...)
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  9. Aesthetic Hedonism and Its Critics.Servaas Van der Berg - 2020 - Philosophy Compass 15 (1):e12645.
    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 (...)
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  10. Aesthetic Internalism and Two Normative Puzzles.Caj Strandberg - 2016 - Studi di Estetica 6:23-70.
    One of the most discussed views in metaethics is Moral Internalism, according to which there is a conceptually necessary connection between moral judgments and motivation to act. Moral Internalism is regarded to yield the prime argument against Moral Cognitivism and for Moral Non-Cognitivism. In this paper, I investigate the significance of the corresponding claim in metaaesthetics. I pursue two lines of argument. First, I argue that Aesthetic Internalism – the view that there is a conceptually necessary connection between (...) value judgments and motivation to act – is mistaken. It follows, I maintain, that the most important argument against Aesthetic Cognitivism, and for Aesthetic Non-Cognitivism, is flawed, and that the latter view presumably is incorrect. Second, I argue that considerations with regard to Aesthetic Internalism give rise to two normative puzzles with relevance for the normative domain in general. The most plausible solution to these puzzles entails, I maintain, that we need to revise the established view about normative judgments. Moreover, I propose a novel externalist account of aesthetic value judgments. (shrink)
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  11. Autonomy and Aesthetic Engagement.C. Thi Nguyen - 2019 - Mind 129 (516):1127-1156.
    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 (...)
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  12. Aesthetic Reasons and the Demands They (Do Not) Make.Daniel Whiting - 2021 - Philosophical Quarterly 71 (2):407-427.
    What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of (...)
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  13. Expressing Aesthetic Judgments in Context.Isidora Stojanovic - 2016 - Inquiry: An Interdisciplinary Journal of Philosophy 59 (6):663-685.
    Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.
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  14. On the Aesthetic Ideal.Nick Riggle - 2015 - British Journal of Aesthetics 55 (4):433-447.
    How should we pursue aesthetic value, or incorporate it into our lives, if we want to? Is there an ideal of aesthetic life? Philosophers have proposed numerous answers to the analogous question in moral philosophy, but the aesthetic question has received relatively little attention. There is, in essence, a single view, which is that one should develop a sensibility that would give one sweeping access to aesthetic value. I challenge this view on two grounds. (...)
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  15. Aesthetic Practices and Normativity.Robbie Kubala - forthcoming - Philosophy and Phenomenological Research.
    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 (...)
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  16. The Aesthetic and Cognitive Value of Surprise.Alexandre Declos - 2014 - Proceedings of the European Society for Aesthetics 6:52-69.
    It is a common experience to be surprised by an artwork. In this paper, I examine how and why this obvious fact matters for philosophical aesthetics. Following recent works in psychology and philosophers such as Davidson or Scheffler, we will see that surprise qualifies as an emotion of a special kind, essentially “cognitive” or “epistemic” in its nature and functioning. After some preliminary considerations, I wish to hold two general claims: the first one will be that surprise is somehow related (...)
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  17. New Prospects for Aesthetic Hedonism.Mohan Matthen - 2018 - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. London: Routledge. pp. 13-33.
    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 (...)
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  18. Authenticity and the Aesthetic Experience of History.Erich Hatala Matthes - 2018 - Analysis 78 (4):649-657.
    In this paper, I argue that norms of artistic and aesthetic authenticity that prioritize material origins foreclose on broader opportunities for aesthetic experience: particularly, for the aesthetic experience of history. I focus on Carolyn Korsmeyer’s recent articles in defense of the aesthetic value of genuineness and argue that her rejection of the aesthetic significance of historical value is mistaken. Rather, I argue that recognizing the aesthetic significance of historical value points the (...)
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  19. Précis of Being for Beauty: Aesthetic Agency and Value.Dominic McIver Lopes - 2021 - Philosophy and Phenomenological Research 102 (1):209-213.
    One question that leads us into aesthetics is: why does beauty matter? Or, what do aesthetic goods bring to my life, to make it a life that goes well? Or, how does beauty deserve the place we have evidently made for it in our lives? A theory of aesthetic value states what beauty is so as to equip us to answer this question. According to aesthetic hedonism, aesthetic values are properties of items that stand in (...)
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  20. Aesthetic Appreciation of Landscapes.Jiri Benovsky - 2016 - Journal of Value Inquiry 50 (2):325-340.
    In this article, I want to understand the nature of aesthetic experiences of landscapes. I offer an understanding of aesthetic appreciation of landscapes based on a notion of a landscape where landscapes are perspectival observer-dependent entities, where the 'creator' of the landscape necessarily happens to be the same person as the spectator, and where her scientific (and other) knowledge and beliefs matter for the appreciation to be complete. I explore the idea that appreciating a landscape in this sense (...)
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  21. The Aesthetic Relevance of Empirical Findings.Fabian Dorsch - 2011 - Kongress-Akten der Deutschen Gesellschaft Für Ästhetik 2:1-21.
    Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal (...)
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  22. Meinong on Aesthetic Objects and the Knowledge-Value of Emotions.Venanzio Raspa - 2013 - Humana.Mente. Journal of Philosophical Studies 25:211-234.
    In this paper I trace a theoretical path along Meinong’s works, by means of which the notion of aesthetic object as well as the changes this notion undergoes along Meinong’s output will be highlighted. Focusing especially on "Über emotionale Präsentation", I examine, on the one hand, the cognitive function of emotions, on the other hand, the objects apprehended by aesthetic emotions, i.e. aesthetic objects. These are ideal objects of higher order, which have, even though not primarily, the (...)
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  23. Responding to Aesthetic Reasons.Andrew McGonigal - forthcoming - Estetika.
    What makes a certain consideration an aesthetic reason rather than a reason of some other kind? Is it a solely a matter of the kind of attitude or activity that the reason supports? How fundamental or structural are such reasons? Do they contrast in a natural way with epistemic or practical reasons? Is skilled aesthetic achievement, whether interpretative or creative, a matter of recognizing the aesthetic reasons we have for a given response, and correctly according with such (...)
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  24. The Inclusive Interpretation of Kant's Aesthetic Ideas.Samantha Matherne - 2013 - British Journal of Aesthetics 53 (1):21-39.
    In the Critique of the Power of Judgment, Kant offers a theory of artistic expression in which he claims that a work of art is a medium through which an artist expresses an ‘aesthetic idea’. While Kant’s theory of aesthetic ideas often receives rather restrictive interpretations, according to which aesthetic ideas can either present only moral concepts, or only moral concepts and purely rational concepts, in this article I offer an ‘inclusive interpretation’ of aesthetic ideas, according (...)
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  25. The Nature of Aesthetic Experiences.Fabian Dorsch - 2000 - Dissertation, University College London
    This dissertation provides a theory of the nature of aesthetic experiences on the basis of a theory of aesthetic values. It results in the formulation of the following necessary conditions for an experience to be aesthetic: it must consist of a representation of an object and an accompanying feeling; the representation must instantiate an intrinsic value; and the feeling must be the recognition of that value and bestow it on the object. Since representations are of (...)
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  26. Philosophy as Total Axiomatics: Serious Metaphysics, Scrutability Bases, and Aesthetic Evaluation.Uriah Kriegel - 2016 - Journal of the American Philosophical Association 2 (2):272-290.
    What is the aim of philosophy? There may be too many philosophical branches, traditions, practices, and programs to admit of a single overarching aim. Here I focus on a fairly traditional philosophical project that has recently received increasingly sophisticated articulation, especially by Frank Jackson (1998) and David Chalmers (2012). In §1, I present the project and suggest that it is usefully thought of as ‘total axiomatics’: the project of attempting to axiomatize the total theory of the world. In §2, I (...)
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  27. Intuitive Cities: Pre-Reflective, Aesthetic and Political Aspects of Urban Design.Matthew Crippen - 2016 - Journal of Aesthetics and Phenomenology 3 (2):125-145.
    Evidence affirms that aesthetic engagement patterns our movements, often with us barely aware. This invites an examination of pre-reflective engagement within cities and also aesthetic experience as a form of the pre-reflective. The invitation is amplified because design has political implications. For instance, it can draw people in or exclude them by establishing implicitly recognized public-private boundaries. The Value Sensitive Design school, which holds that artifacts embody ethical and political values, stresses some of this. But while emphasizing (...)
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  28. Nietzsche’s Aesthetic Critique of Darwin.Charles H. Pence - 2011 - History and Philosophy of the Life Sciences 33 (2):165-190.
    Despite his position as one of the first philosophers to write in the “post- Darwinian” world, the critique of Darwin by Friedrich Nietzsche is often ignored for a host of unsatisfactory reasons. I argue that Nietzsche’s critique of Darwin is important to the study of both Nietzsche’s and Darwin’s impact on philosophy. Further, I show that the central claims of Nietzsche’s critique have been broadly misunderstood. I then present a new reading of Nietzsche’s core criticism of Darwin. An important part (...)
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  29. A Semantic Solution to the Problem with Aesthetic Testimony.James Andow - 2015 - Acta Analytica 30 (2):211-218.
    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 (...)
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  30. Three Problems for the Aesthetic Foundations of Environmental Ethics.J. Robert Loftis - 2003 - Philosophy in the Contemporary World 10 (2):41-50.
    This essay takes a critical look at aesthetics as the basis for nature preservation, presenting three reasons why we should not rely on aesthetic foundations to justify the environmentalist program. First, a comparison to other kinds of aesthetic value shows that the aesthetic value of nature can provide weak reasons foraction atbest. Second, not everything environmentalists want to protect has positive aesthetic qualities. Attempts have been made to get around this problem by developing a (...)
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  31.  83
    Let’s Be Liberal: An Alternative to Aesthetic Hedonism.Antonia Peacocke - 2021 - British Journal of Aesthetics 61 (2):163-183.
    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 (...)
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  32. Perceptual Learning, the Mere Exposure Effect and Aesthetic Antirealism.Bence Nanay - 2017 - Leonardo 50:58-63.
    It has been argued that some recent experimental findings about the mere exposure effect can be used to argue for aesthetic antirealism: the view that there is no fact of the matter about aesthetic value. The aim of this paper is to assess this argument and point out that this strategy, as it stands, does not work. But we may still be able to use experimental findings about the mere exposure effect in order to engage with the (...)
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  33. The Possibility of Aesthetic Realism.Philip Pettit - 1983 - In Eva Schaper (ed.), Pleasure, preference and value. Cambridge, UK: Cambridge University Press. pp. 17-38.
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  34. Art, Pleasure, Value: Reframing the Questions.Mohan Matthen - 2018 - Philosophic Exchange 47 (1).
    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 (...)
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  35. Brentano and Aesthetic Intentions.Lynn Pasquerella - 1992 - Brentano Studien 4:235-249.
    Brentano's philosophy of art, contained primarily in his book, Grundzuge der Ästhetik, is the result of an original theory of intrinsic value that was derived from Brentano's philosophical psychology. In his aesthetics, Brentano endeavored to find an objective ground for the value of aesthetic contemplation through his theory of the intentional objects of emotions and desires. The lack of attention Brentano's aesthetics has received is surprising, given that two of the many students Brentano influenced, Husserl (through the (...)
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  36.  52
    Exclusively For Everyone On The Value Of Aesthetic Experience.Julie Kuhlken - 2004 - Postgraduate Journal of Aesthetics 1 (3):99-110.
    For most people using an advertising slogan as the title for a philosophical paper is going to seem, at best, provocative, and at worst, simply cynical. However, this kind of cynical provocation is precisely what I want to address. That is, Marks and Spencer's tagline 'exclusively for everyone' is an affront to rational thought, but this is also the motive for its effectiveness. Rather than simply stating what's on offer, it plays to our dreams; rather than simply offering to match (...)
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  37. The Value of Fidelity in Adaptation.James Harold - 2018 - British Journal of Aesthetics 58 (1):89-100.
    © British Society of Aesthetics 2018. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comThe adaptation of literary works into films has been almost completely neglected as a philosophical topic. I discuss two questions about this phenomenon:What do we mean when we say that a film is faithful to its source?Is being faithful to its source a merit in a film adaptation?In response to, I set out two distinct (...)
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  38. Aesthetic Obligations.Robbie Kubala - 2020 - Philosophy Compass 15 (12):1-13.
    Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, social practices, and (...) value primitivism. I conclude by raising questions for further work in this area. (shrink)
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  39. Aesthetic Properties, Mind-Independence, and Companions in Guilt.Daan Evers - 2019 - In Richard Rowland & Christopher Cowie (eds.), Companions in Guilt Arguments in Metaethics. Routledge.
    I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.
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    On Liking and Enjoyment: Reassessing Geiger’s Account of Aesthetic Pleasure.Íngrid Vendrell-Ferran - 2020 - Metodo. International Studies in Phenomenology and Philosophy 8 (2):207 - 232.
    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 (...)
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  41. Emotion, Cognition, and the Value of Literature: The Case of Nietzsche's Genealogy. Aumann - 2014 - Journal of Nietzsche Studies 45 (2):182.
    Near the end of the Republic, Plato challenges defenders of poetry to explain how it “not only gives pleasure but is beneficial . . . to human life.”1 We sometimes hear a heightened version of this demand. Partisans not just of poetry but also of literature in general are asked to establish that the arts they celebrate possess a distinctive or unique value. In other words, they must show that poetry and literature are irreplaceable and that we would lose (...)
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  42.  65
    Non-Standard Emotions and Aesthetic Understanding.Irene Martínez Marín - 2020 - Estetika 2 (57):135–49.
    For cognitivist accounts of aesthetic appreciation, appreciation requires an agent (1) to perceptually respond to the relevant aesthetic features of an object o on good evidential grounds, (2) to have an autonomous grasp of the reasons that make the claim about the aesthetic features of o true by pointing out the connection between non-aesthetic features and the aesthetic features of o, (3) to be able to provide an explanation of why those features contribute to the (...)
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  43.  39
    The Arbitrariness of Aesthetic Judgment.David Sackris - forthcoming - Journal of Value Inquiry:1-22.
    Realists about aesthetic judgment believe something like the following: for an aesthetic judgment of be correct, it must respond to the intrinsic aesthetic properties possessed by the object in question (e.g., Meskin et al., 2013; Kieran 2010). However, Cutting’s (2003) empirical research on aesthetic judgment puts pressure on that position. His work indicates that unconscious considerations extrinsic to an artwork can underpin said judgements. This paper takes Cutting’s conclusion a step further: If philosophers grant that it’s (...)
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  44.  61
    The Value of Art.Ruel F. Pepa - manuscript
    Art is the concrete/tangible/substantial materialization of the human creative impulse to convey her/his most vital desires and needs. Art is the channel that facilitates the release of humanity´s imaginative urge that makes life more liveable and more worth enhancing. In a broader sense, we may even contend that human life in its truest essence is art itself. It is the artistic spirit of humanity that sees beauty in the natural environ of earthly existence. The course of life on earth provides (...)
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  45. Philosophy, Science and the Value of Understanding.Tim Crane - 2015 - In The Future of the Humanities in Higher Education: What is the Point of Philosophy?
    The best definition of philosophy, in my opinion, was given by Wilfrid Sellars fifty years ago: ‘The aim of philosophy, abstractly formulated, is to understand how things in the broadest possible sense of the term hang together in the broadest possible sense of the term’. This definition does not get us very far; and nor should we expect it to (after all, as Nietzsche said, only that which has no history can be defined). But it does give us something to (...)
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  46.  54
    Environmental Diversity and the Value of the Unusual.Jason Kawall - 1998 - The Paideia Archive: Twentieth World Congress of Philosophy 22:21-26.
    It is commonplace to call for the protection of environmental diversity. I develop an often overlooked reason for preserving diversity: we should preserve diversity in order to preserve the unusual. I show that we do in fact value the unusual, and that we should value the unusual. Recognizing the value of the unusual provides a foundation for valuing species not otherwise considered valuable.
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  47. Value First: Comments on Mohan Matthen’s ‘The Pleasure of Art’.Keren Gorodeisky - 2017 - Australasian Philosophical Review 1 (1):79-84.
    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 (...)
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  48. Relativism and the Metaphysics of Value.Daan Evers - 2021 - British Journal of Aesthetics 61 (1).
    I argue that relativists about aesthetic and other evaluative language face some of the same objections as non-naturalists in ethics. These objections concern the metaphysics required to make it work. Unlike contextualists, relativists believe that evaluative propositions are not about the relation in which things stand to certain standards. Nevertheless, the truth of such propositions would depend on variable standards. I argue that relativism requires the existence of states of affairs very different from other things known to exist. Furthermore, (...)
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  49. Merleau-Ponty’s Aesthetic Interworld.Anya Daly - 2018 - Philosophy Today 62 (3):847-867.
    The overall aim of this paper is to defend the value of the arts as uniquely instructive regarding philosophical questions. Specifically, I aim to achieve two things: firstly, to show that through the phenomenological challenge to dualist and monist ontologies the key debate in aesthetics regarding subjective response and objective judgment is reconfigured and resolved. I argue that Merleau-Ponty’s analyses complement and complete Kant’s project. Secondly, I propose that through Merleau-Ponty’s phenomenological interrogations of the creative process the broader issue (...)
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  50. Morality and Aesthetics of Food.Shen-yi Liao & Aaron Meskin - 2018 - In Anne Barnhill, Mark Budolfson & Tyler Doggett (eds.), The Oxford Handbook on Food Ethics. Oxford University Press. pp. 658-679.
    This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to (...)
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