What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning (...) the nature of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. (shrink)

Global climate change has been characterised as the crisis of reason (Val Plumwood), imagination (Amitav Ghosh) and language (Elizabeth Rush), to mention some. The 'everything change', as Margaret Atwood calls it, arguably also impacts on how we aesthetically perceive, interpret and appreciate nature. This article looks at philosophical theories of nature appreciation against global environmental change. The article examines how human-induced global climate change affects the 'scientific' approaches to nature appreciation which base aesthetic judgment on scientific knowledge and (...) the competing 'non-scientific' approaches which emphasise the role of emotions, imagination and stories in the aesthetic understanding of environment. The author claims that both approaches are threatened by global climate change and cannot continue as usual. In particular, he explores aesthetic imagination in contemporary times when our visions about environment are thoroughly coloured by worry and uncertainty and there seems to be little room for awe and wonder, which have traditionally characterised the aesthetic experience of nature. Finally, he proposes that art could stimulate environmental imagining in this age of uncertainty. (shrink)

We enjoy sounds. What about silence: the absence of sound? Certainly not all, but surely many of us seek out, attend to, and appreciate silence. But, if nothing is there, then there is nothing to possess aesthetic qualities that might engage aesthetic interest or reward aesthetic attention. This is at least puzzling, perhaps even paradoxical. In this paper, I attempt to dispel the sense of paradox and provide a way to understand aesthetic appreciation of silence. I argue that silence (...) can have an aesthetic character and can sustain the kinds of rich experiences apt for aesthetic assessment and appraisal. (shrink)

Does trust play a significant role in the appreciation of art? If so, how does it operate? We argue that it does, and that the mechanics of trust operate both at a general and a particular level. After outlining the general notion of ‘art-trust’—the notion sketched is consistent with most notions of trust on the market—and considering certain objections to the model proposed, we consider specific examples to show in some detail that the experience of works of art, and (...) the attribution of art-relevant properties or characterisations to works of art, very often involves the notion of trust; in such cases—perhaps most or even, implicitly, all—the question ‘Do I trust the artist (or art-maker)?’, is inescapable. (shrink)

Scientific cognitivism is the idea that nature must be aesthetically appreciated in light of scientific information about it. I defend Carlson's traditional formulation of scientific cognitivism from some recent criticisms. However, I also argue that if we employ this formulation it is difficult to uphold two claims that Carlson makes about scientific cognitivism: (i) it is the correct analysis of the notion of appropriate aesthetic appreciation of nature, and (ii) it justifies the idea that nature, seen aright, is always (...) beautiful (that is, positive aesthetics about nature). I attempt to find a revised formulation of scientific cognitivism that can support both of these claims. I argue that to do this we must rethink the notion of positive aesthetics and its place in our theorizing about the appropriate aesthetic appreciation of nature. Specifically, I propose that positive aesthetics be made ‘internal’ to the theory of appropriate aesthetic appreciation, in the sense that this theory determines the correct scientific categories for appreciating a natural object, in part, in virtue of a ‘beauty-making’ criterion. I argue that this sort of formulation of scientific cognitivism can support both of Carlson's claims and does not compromise the objectivist scruples that motivate the view. (shrink)

Instances of epistemic injustice elicit resistance, anger, despair, frustration or cognate emotional responses from their victims. This sort of response to the epistemic injustices that accompanied historical systems of oppression such as colonialism, for example, is normal. However, if their victims have internalised these oppressive situations, we could get the counterintuitive response of appreciation. In this paper, I argue for the phenomenon of appreciative silencing to make sense of instances like this. This is a form of epistemic silencing that (...) happens when the accepted hegemonic intuitions of the oppressed are formed/influenced by the ideologies of the oppressors over time. Here, we have a resilient, oppressive and hegemonic epistemic system. Put together, it creates a variant of epistemic injustice and silencing that is obscure since its victims are neither resistant nor aware of the injustice they face but are appreciative. (shrink)

Moral experience comes in many flavors. Some philosophers have argued that there is nothing common to the many forms moral experience can take. In this paper, I argue that close attention to the phenomenology of certain key emotions, combined with a clear distinction between essentially and accidentally moral experiences, suggests that there is a group of (essentially) moral emotions which in fact exhibit significant unity.

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

Why is it that we respond emotionally to plays, movies, and novels and feel moved by characters and situations that we know do not exist? This question, which constitutes the kernel of the debate on »the paradox of fiction«, speaks to the perennial themes of philosophy, and remains of interest to this day. But does this question entail a paradox? A significant group of analytic philosophers have indeed thought so. Since the publication of Colin Radford's celebrated paper »How Can We (...) Be Moved by the Fate of Anna Karenina?« (1975), the number of proposals to solve, explain, reformulate, dismiss or even revitalize this apparent paradox has continued to proliferate. In line with recent developments in the philosophy of emotion, in this paper I will argue against the sustainability of the paradox, claiming that the only reasonable way to continue our discussions about it consists in using it as a heuristic tool to shed light on problems regarding our involvement with fiction. Against this background, I will then focus on one of the problems related to how our emotional responses to fiction contribute to our appreciation of it. The paper is divided into three main sections. The first section shows the parallel evolution of the paradox of fiction and the analytic philosophy of emotion. Here I claim that, although the paradox is epistemically flawed, since one of its premises is rooted in a limited view on the emotions typical of early cognitiv-ism, the discussions it provokes are still epistemically useful. As Robert Stecker (2011, 295), among others, has pointed out, the paradox was formulated during the heyday of cognitive theories of the emotions in which emotion necessarily requires belief. Today, however, only few authors would endorse this premise. If emotion does not always require belief (as the majority of authors in the contemporary debate admit), let alone belief about the existence of the object towards which it is directed, then there is no reason to speak of a paradox. From this first conclusion, however, it does not follow that the paradox is completely without use from the epistemic point of view. A glimpse at the topics touched on during the discussions about how to solve, reformulate, or negate the paradox reveals their value in shedding light on the interrelation between emotion and fiction. The second section elaborates a phenomenologically inspired cognitive account of the emotions by focusing on their cognitive bases, their influence on Emotion in the Appreciation of Fiction 205 cognitions, and their cognitive function. In this model, emotions are responsible for indicating values, for showing what matters to us, and for being appropriate to their objects. My claim is that this view applies not only to reality, but also to our involvement with fiction. In the final section I draw on this account to focus on one kind of appreciation of fiction which necessarily requires our emotional involvement. Following an idea put forward by Susan Feagin (1996, 1), I employ the concept of »appre-ciation« to refer to a set of abilities exercised with the aim of extracting value from the work. There is a long tradition in aesthetics that condemns any focus on the emotions in the appreciation of art and fiction, and defends the necessity of aesthetic appreciation without emotional influence. To refer to this negative attitude towards the emotions, I will borrow an expression coined by Susan Feagin (2013, 636), who refers to »the intellectualized view of appreciation«. Against this widespread view, I will argue that some aspects of the fiction can only be appreciated with the help of our emotions. The cognitive approach developed in the previous section can explain how the emotions might in fact play a significant role in the appreciation of art and fiction. Attention will be paid to three activities involved in appreciation, for all of which emotion is crucial: processing relevant information about the fictional world, understanding aspects of it, and becoming acquainted with the values it presents. My aim here is to argue that there are particular aspects of the fictional world that can only be appreciated if recipients have the appropriate emotions. (shrink)

Dance can be appreciated from all sorts of perspectives: For instance, by the dancer while dancing, by the choreographer while watching in the wings, by the musician in the orchestra pit who accompanies the dance, or by the loved-one of a dancer who watches while hoping that the dancer performs well and avoids injury. This essay will consider what it takes to appreciate dance from the perspective of a seated, non-moving audience member. A dance appreciator in this position is typically (...) someone who can hear and see, who can feel vibrations of sound through their skin, and who can have other human, kinaesthetic responses and perceptions as well as the cognitive ability to process them. This appreciator is also someone who is a person with a history that may or may not include experiences of dance that have conditioned his or her responses to watching dance. Based on both this experience, and the skill and capacity to focus, pay attention, make judgments, and convey those judgments, there are different types and levels of audience appreciation. This essay will consider three: 1. Innocent Eye Appreciation, 2. Dance-Trained Appreciation, and 3. Critical Appreciation. (shrink)

A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the (...) cover. We argue that it can nevertheless be just as legitimate to consider a cover version on its own as it is to consider it in relation to the earlier recording that it is covering. In some cases, these two modes of appreciation will offer distinct rewards. In other cases, one mode will be substantially more rewarding than the other. The details matter, especially in complicated cases like covers of covers, but neither mode is privileged in principle. (shrink)

One popular theodicy says that good can’t exist without evil, and so God must allow evil in order to allow good. Call this the counterpart theodicy. The counterpart theodicy relies on a metaphysical claim about existence—good cannot exist without evil. A second popular theodicy says that we would be unable to know/recognize/appreciate the good without evil, and so God is forced to allow evil in order to allow for such appreciation. Call this the appreciation theodicy. The appreciation (...) theodicy relies on an epistemological claim about recognition or appreciation—we are unable to know/recognize/appreciate good without evil (even if it is possible for good to exist without evil). Determining whether either of these theodicies is a success requires a careful discussion of whether either meets the conditions on a successful theodicy. I argue that both fail. (shrink)

On a widely held view in aesthetics, appreciation requires disinterested attention. George Dickie famously criticized a version of this view championed by the aesthetic attitude theorists. I revisit his criticisms and extract an overlooked challenge for accounts that seek to characterize appreciative engagement in terms of distinctive motivation: at minimum, the motivational profile such accounts propose must make a difference to how appreciative episodes unfold over time. I then develop a proposal to meet this challenge by drawing an analogy (...) between how attention is guided in appreciation and how practical action is guided in ‘striving play’—a mode of game play recently foregrounded in the philosophy of games. On the resulting account, appreciation involves an ‘inverted’ motivational structure: the appreciating agent's attention is guided by cognitive goals taken up instrumentally, for the sake of the cognitive activity that results from attending under the guidance of those goals. (shrink)

Huckleberry Finn believes that by helping Miss Watson’s slave Jim escape to freedom, he is doing something wrong. But Huck does it anyway—and many want to give him moral credit for this choice. If Huck is to be worthy of such moral esteem, however, it seems there must be some implicit way of appreciating and responding to considerations as moral reasons that does not involve explicitly believing that those considerations are moral reasons. This chapter argues that an agent like Huck (...) can implicitly appreciate a consideration as a moral reason to φ by presenting it under the light of a particular phenomenologically-mediated mode of presentation: one that presents that consideration via the light of a felt directive force “pointing” towards φ-ing—lending weight to it, or soliciting it—in a particular authoritative way. Thus, I suggest, Huck may be understood on analogy with a young jazz piano virtuoso. As she may appreciate that the G-seventh chord having been played just so constitutes an aesthetic reason for her to ease into the C-major-seventh chord just so by virtue of experiencing the former as pointing or directing her to the latter, so also, I propose, Huck may appreciate the considerations speaking in favor of helping Jim as moral reasons to help Jim by virtue of experiencing them as pointing or directing him to help Jim. The chapter also examines and rejects four alternative proposals for how to account for implicit reasons-appreciation: first, a de re account of appreciation and then three additional accounts of appreciation derived from major theories of mental representation (inferentialist, causal tracking, and functionalist theories). (shrink)

The paper investigates the role played by pre-scientific experience in the philosophy of Josiah Royce and Edmund Husserl. Such a notion, generally associated with Husserl’s conception of the life-world (Lebenswelt) in the Crisis of European Sciences and Transcendental Phenomenology (1936), finds an equivalent and historical antecedent in Royce’s distinction between a world of description and a world of appreciation. The final goal is to show how, despite their different philosophical frameworks, Royce and Husserl agree on the idea that, through (...) the rejection of the world given through mere perception (Lebenswelt/world of appreciation), European sciences have somehow failed their task of universality. As it will be shown, this idea is also due to methodological affinities among the two thinkers. The experience of interconnectedness among individual minds, while precluded in the mere scientific explanation of the world, it becomes possible through the enactment of the Lebenswelt or, as in Royce’s case, through a return to the experience of the world of appreciation. (shrink)

Many interpretations of Kant’s first Critique fail to appreciate the revolutionary nature of his account of knowledge and its implications for skepticism, givenness and mind-independence, because they read Kant as holding a compositional account of knowledge. I contend that the reason for this is that this account is both naturally appealing in its own right, and fits an influential reading of Kant’s Transcendental Deduction. On this reading, the Deduction aims to respond to a skeptical worry which issues from the empiricist (...) version of epistemic compositionalism and which questions the intelligibility of the claim to knowledge of our judgements. Against this, I argue that what Kant’s Deduction actually aims to address is a radicalization of this epistemic worry, which instead questions the intelligibility of the objective purport of our judgements. I contend that the compositional account is unable to respond to this more radical worry, thereby putting it into question both as a reading of Kant, and as an account of knowledge generally. To corroborate this, I provide a reading of the Deduction that overcomes epistemic compositionalism by thinking through its shortcomings in order to arrive at a more adequate successor account: the hylomorphic account of knowledge, which, I contend, is able to dissolve both the more radical and the epistemic worry. I suggest that this implies generally that the epistemic worry issuing from the compositional account is not self-contained, but must give way to Kant’s more radical worry, which I argue can only be addressed within the underappreciated framework of epistemic hylomorphism. (shrink)

Literary cognitivists claim that works of literature can have a significant cognitive value and can be effective in providing readers with opportunities for learning. Anti-cognitivists challenge cognitivists by questioning how literature can offer arguments or evidence for readers’ adoption of new knowledge or understanding. As a mode of side-stepping these objections, cognitivists have recently tended to make their claims more modest and claim only that literature clarifies knowledge readers already possess or provides the opportunity for the development of certain general (...) cognitive skills. In this chapter, I put forward a more bold account of literature’s cognitive value. I argue that a reader’s engagement with a literary work can lead to reconfiguration of their understanding of the subject matter with which the work deals. This bolder defence of literature’s cognitive value, and the account I offer of how readers can access such cognitive value, indicate how literature can form a significant part of character education. (shrink)

Jenefer Robinson believes that feelings can play an important role in the critical evaluation of artworks. In this paper, I want to put some pressure on two important notions in her theory: emotional understanding and affective empathy. I will do this by focusing on the nature of self-conscious emotions. My strategy will be, firstly, to demonstrate the difficulty that Robinson’s two step theory of emotions has in accommodating higher cognitive emotional responses to art. Secondly, I will discuss how the tight (...) connection to the ‘self’ involved in self-conscious emotions makes it difficult to take the emotional perspective of another person as empathy requires. From here, I suggest that Peter Goldie’s feeling-towards and his critique of perspective-shifting may give a better understanding of the role of emotions in the appreciation of art, particularly in the case of reflective emotions. This issue will be explored through a discussion of the expression of autobiographical nostalgia in the work of the avant-garde filmmaker Jonas Mekas. (shrink)

We demonstrate that many philosophers accept the following claim: When an aesthetic object is apprehended correctly, taking pleasure in said object is a reliable sign that the object is aesthetically successful. We undermine this position by showing that what grounds our pleasurable experience is opaque: In many cases, the experienced pleasure is attributable to factors that have little to do with the aesthetic object. The evidence appealed to is a form of Higher-Order Evidence (HOE) and we consider attempts to overcome (...) said evidence. We argue they are unsuccessful. We conclude by considering what this means for our practice of making aesthetic judgements. (shrink)

Psychopaths are the bugbears of moral philosophy. They are often used as examples of perfectly rational people who are nonetheless willing to do great moral wrong without regret; hence the disorder has received the epithet “moral insanity” (Pritchard 1835). But whereas philosophers have had a great deal to say about psychopaths’ glaring and often horrifying lack of moral conscience, their aesthetic capacities have received hardly any attention, and are generally assumed to be intact or even enhanced. Popular culture often portrays (...) psychopaths in ways that suggest a great gap between their amorality and their aesthetic sensitivity. In The Silence of the Lambs (Jonathan Demme, 1991), Hannibal Lecter appreciates fine art, fashion, and wine, while he eats his way through his enemies. His real-life counterparts, however, do not demonstrate the same sensitivities. There is no evidence that psychopaths are capable of real aesthetic appreciation, and some evidence that they are not. In this paper, we set out the limited evidence for the psychopath’s deficient aesthetic sensitivity. The best explanations of what the psychopath lacks turn out to implicate abilities that are also thought to be central to moral thought and action: an impaired capacity for empathizing with others and deficient ability to take a disinterested attitude towards things (socalled distance). We endorse the latter explanation. Thinking about what underlies the psychopath’s deficient aesthetic understanding turns out to throw light on a difficult problem: the connection between ethics and aesthetics. (shrink)

Even before he assumed the Petrine office as head of the Catholic Church, Joseph Ratzinger already carries the reputation of being one of the most important figures, not only of the Catholic intellectual tradition, but more so of the theological enterprise of the twentieth century. A closer appreciation of his thought which delves into the relevant discussions of the time, such as those that tackle pluralism and relativism, further reveals that more than a theologian, Ratzinger is a ‘thinker’ capable (...) of dialoguing with intellectuals of any background. This noncompromising openness to the ideas that challenge his own gives credence to the range and depth of the beliefs that he holds and proclaims to the world. This paper presents Ratzinger’s insights that elicit a philosophical analysis based on the themes that concern the relevance of belief – the Christian faith – to the theoretical and practical movements of the contemporary period. (shrink)

A long debate in aesthetics concerns the reasoned nature of criticism. The main questions in the debate are whether criticism is based on (normative) reasons, whether critics communicate reasons for their audience’s responses, and if so, how to understand these critical reasons. I argue that a great obstacle to making any progress in this debate is the deeply engrained assumption, shared by all sides of the debate, that reasons can only be either theoretical reasons (i.e., those that explain what to (...) believe or what propositions are true) or practical reasons (i.e., those that explain what is to be done or what actions are good/required/called for/otherwise worthy of doing). My aims are (1) to put pressure on this assumption that, if there are critical reasons, they must be either theoretical or practical (the EITHER/OR assumption), and (2) to suggest that, if there are critical reasons, the most central among them are neither theoretical nor practical (NEITHER/NOR). (shrink)

"Romanticism, when attains a fullness of complexity..there occurs of the supernatural unique". http://philpapers.org/profile/112741.

Karen Stohr’s book On Manners argues persuasively that rules of etiquette, though conventional, play an essential moral role, because they “serve as vehicles through which we express important moral values like respect and consideration for the needs, ideas, and opinions of others”. Stohr frequently invokes Kantian concepts and principles in order to make her point. In Part 2 of this essay, I shall argue that the significance of etiquette is better understood using a virtue ethics framework, like that of Confucianism, (...) rather than the language of Kantianism. Within the Chinese tradition, Daoists have frequently been critics of Confucian ritualism. Consequently, in Part 3, I shall consider some possible Daoist critiques of Stohr’s work. (shrink)

This paper examines an ancient debate over the rationality of perception. What leads the Stoics to affirm, and the Epicureans to deny, that to form a sense-impression is an activity of reason? The answer, we argue, lies in a disagreement over what is required for epistemic success. For the Stoics, epistemic success consists in believing the right propositions, and only rational states, in virtue of their predicational structure, put us in touch with propositions. Since they identify some sense-impressions as criteria (...) of truth and thus as the basis for epistemic success, the Stoics maintain that sense-impressions must be rational. The Epicureans agree with the Stoics that sense-impressions function as criteria of truth, and also agree broadly on what it means for a state to be rational, but deny that sense-impressions are rational because (1) they think that epistemic success must be supported by a state that is necessarily error-free and (2) accept that rational states can be false. In reconstructing this debate, we refine the standard interpretation of the fundamental difference between Epicurean and Stoic epistemology and also develop parallels with epistemological debates today. One upshot is a more nuanced appreciation of the merits of Epicurean epistemology vis-à-vis the Stoics. (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)

Symbiosis plays a fundamental role in contemporary biology, as well as in recent thinking in philosophy of biology. The discovery of the importance and universality of symbiotic associations has brought new light to old debates in the field, including issues about the concept of biological individuality. An important aspect of these debates has been the formulation of the hologenome concept of evolution, the notion that holobionts are units of natural selection in evolution. This review examines the philosophical assumptions that underlie (...) recent proposal of the hologenome concept of evolution, and traces those debates back in time to their historical origins, to the moment when the connection between the topics of symbiosis and biological individuality first caught the attention of biologists. The review is divided in two parts. The first part explores the historical origins of the connection between the notion of symbiosis and the concept of biological individuality, and emphasizes the role of A. de Bary, R. Pound, A. Schneider and C. Merezhkowsky in framing the debate. The second part examines the hologenome concept of evolution and explores four parallelisms between contemporary debates and the debates presented in the first part of the essay, arguing that the different debates raised by the hologenome concept were already present in the literature. I suggest that the novelty of the hologenome concept of evolution lies in the wider appreciation of the importance of symbiosis for maintaining life on Earth as we know it. Finally, I conclude by suggesting the importance of exploring the connections among contemporary biology, philosophy of biology and history of biology in order to gain a better understanding of contemporary biology. (shrink)

This article discusses Sven Ove Hansson’s corpus model for the influence of values (in particular, non-epistemic ones) in the hypothesis acceptance/rejection phase of scientific inquiry. This corpus model is based on Hansson’s concepts of scientific corpus and science ‘in the large sense’. I first present Hansson’s corpus model of value influence with some introductory comments about its origins, a detailed presentation of the model with a new terminology, an analysis of its limits, and an appreciation of its handling of (...) controversial non-epistemic values. I conclude that it is a very good candidate for managing value influence, because contrary to other models in the literature it is fairly simple, it provides a universal and systematic procedure for dealing with values, and it syste- matically preserves the epistemic integrity of science. I then study some difficulties associated with the model’s central feature of taking the maximum level of evidence required by the applications of a claim in order for the latter to enter the scientific corpus: the difficulty to identify this maximum requirement; the non-optimality of this requirement with respect to other less demanding requirements; the potentially detrimental consequences of the preference for false negatives over false positives on which it relies; and the issue of whether there can nevertheless be requirements higher than this maximum. I show that these issues may potentially challenge the corpus model. Finally, I call for empirical work (in particular, an investigation of scientists’ and engineers’ own normative views) in order to better assess these issues. (shrink)

This essay considers how ancient Stoic cosmopolitanism – roughly, the claim all human beings are members of the same “cosmopolis”, or universal city, and so are entitled to moral concern in virtue of possessing reason – informs Stoic thinking about how we ought to treat non-human entities in the environment. First, I will present the Stoic justification for the thesis that there are only rational members of the cosmopolis – and so that moral concern does not extend to any non-human (...) part of the natural world – and explore the foundations of these views in Stoic physics. Next, I will show that, like other anthropocentric theories, Stoic cosmopolitanism allows for environmental preservation and protection of non-human entities, so long as these activities ultimately benefit human beings. However, because the Stoics include the appreciation of natural beauty as a component of the happy life, this justification is not as feeble as it might seem. Humans are naturally set up to contemplate the order and complexity of the universe, and so environmental degradation and species loss, in marring this harmonious system, frustrates the achievement of the human goal. After exploring these facets of Stoic philosophy, and assessing to what extent they might justify environmental conservation, I close with a critical appraisal of Stoic theory – specifically, of the claims that (i) only humans possess reason and (ii) only rational creatures are deserving of moral concern. (shrink)

This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the (...) idea that love-worthy qualities could be coarse-grained, when in fact they must be fine-grained. The analogy with appreciation of aesthetic qualities helps to draw out this point. Once the fine-grained nature of love-worthy qualities is properly understood, it is clear that critics of the QV cannot rely on the trading-up objection to motivate its rejection. Moreover, the paper’s core argument helps to illuminate the persistently aesthetic nature of interpersonal affections. (shrink)

John O’Neill, Alan Holland, and Andrew Light usefully distinguish two ways of thinking about environmental values, namely, end-state and historical views. To value nature in an end-state way is to value it because it instantiates certain properties, such as complexity or diversity. In contrast, a historical view says that nature’s value is (partly) determined by its particular history. Three contemporary defenses of a historical view are explored in order to clarify: (1) the normatively relevant history; (2) how historical considerations are (...) supposed to instruct environmental decision making; and (3) the relative importance of historical and end-state considerations. There are multiple reasons for including historical considerations in an account of environmental values. For example, knowledge of a natural object’s history can add depth and texture to our appreciation of that object. Further, if we were blind to the relevant history, we could not adequately understand and defend environmental policy goals such as preserving the potentials of natural systems or maintaining ecological health, for these goals appear to have irreducibly historical aspects. While historical considerations are important, such considerations are insufficient to guide our normative thinking about nature and how it should be dealt with practically. But they succeed in broadening and deepening our understanding of the nature and sources of environmental value. (shrink)

This chapter will introduce everyday aesthetics and conceptions of happiness, explore their interconnections, and indicate some ways they might relate to depression. I introduce the main claims and concerns of everyday aesthetics and illustrate these with examples from the Indian, Chinese, and Japanese philosophical traditions. I then consider two popular accounts of happiness – ‘hedonic’ and ‘life-satisfaction’ theories – and offer an alternative phenomenological account of happiness. Aesthetic appreciation and agency and happiness, it is argued, depend on a phenomenologically (...) fundamental capacity to experience different kinds of significant possibility. It is the loss or disruption of that capacity which characterises experiences of depression. (shrink)

I argue that silence is replete with aesthetic character and that it can be a rewarding object of aesthetic appreciation, assessment, and appraisal. The appreciation of silence might initially seem impossible, for, it might seem, there is nothing there to behold. Taking up this challenge, I attempt to dispel the sense of paradox. I contend that, despite our never actually experiencing absolute silence, there is much to enjoy in the silences that we do experience. I go on to (...) argue that proper appreciation of silence is a two-way street, involving quiet on the outside and stillness on the inside. I conclude by offering some suggestions for how to make the aesthetic appreciation of silence part of a flourishing life. (shrink)

It is widely acknowledged that categories play significant roles in the appreciation of artworks. This paper argues that the correct categories of artworks are institutionally established through social processes. Section 1 examines the candidates for determining correct categories and proposes that this question should shift the focus from category membership to appreciative behaviour associated with categories. Section 2 draws on Francesco Guala’s theory of institutions to show that categories of artworks are established as rules-in-equilibrium. Section 3 reviews the explanatory (...) benefits of this institutional theory of the correct category. [Winner of the 2022 Debates in Aesthetics Essay Prize]. (shrink)

In this paper, I seek to defend the proposition that bewilderment can contribute to the interest we take in artworks. Taking inspiration from Alois Riegl’s underdeveloped explanation of why his contemporaries valued some historically distant artworks higher than recent art, I interpret the historical case of the European audiences’ fascination with the Fayum mummy portraits as involving such a bewilderment. I distinguish the claim about effective bewilderment from the thesis that aesthetic meaning resists discursive understanding and seek to establish that (...) bewilderment can figure positively in art appreciation, drawing on Richard Wollheim’s argument—developed in engaging Sigmund Freud’s essays on art—that posing obstacles to our understanding can actually contribute considerably to art’s effect: it prolongs and intensifies our engagement with the work. Riegl’s observation that some historically distant artworks have an especially strong effect is thus explained in terms of their anachronism: the effect is caused by the difficulties experienced in making sense of their contemporary look and their distant origin. (shrink)

Francis Sparshott introduced the term ‘remote art’ in his 1982 presidential address to the American Society for Aesthetics. The concept has not drawn much notice since—although individual remote arts, such as palaeolithic art and the artistic practices of subaltern cultures, have enjoyed their fair share of attention from aestheticians. This paper explores what unites some artistic practices under the banner of remote art, arguing that remoteness is primarily a matter of some audience’s epistemic distance from a work’s context of creation. (...) I introduce palaeoart—the depiction of extinct prehistoric fauna and flora, especially from the Mesozoic—as a paradigmatic case of remote art, showing that its remoteness is secured both by the deceptively rich cognitive load required for its creation and appreciation, and by its existence at the margins of the institutional artworld, which ensures that this cognitive loading is largely obscured. Too often, remote art is not just inscrutable, it is invisible to us. (shrink)

The publication of Guido Calabresi’s book “The Future of Law and Economics” has drawn a substantial amount of attention among law and economics scholars. We thought that the best way to devote special attention to this book was to devote a Special issue to it. This article situates Calabresi’s book among other reflections on the future of the discipline, introduces and explains the reasons behind this Special issue and discuss the organization and content of it. -/- We emphasize how Calabresi’s (...) historical-conceptual standpoint allows him to isolate the stakes of different future developments around the question of how could further appreciation of legal institutions that defy the standard economic assumptions help the field develop theoretically. Overall, the contributors all shared Calabresi’s attempt to restore the balance between Law and Economics and the need to better account for the “whole unanalysed experience of human race”, often neglected by the Economic Analysis of Law approach. Most disagreements are about the ‘how’. In any case, the search for the Law and Economics ‘not (yet) taken’ or for other “Law and … ” approaches is always open to the Future. (shrink)

I argue that John Dewey’s account of aesthetic experience offers a contextual approach to aesthetic experience that could benefit contemporary contextual definitions of art. It is well known that many philosophers who employ contextual definitions of art (most notably, George Dickie) also argue that traditional conceptions of aesthetic experience are obsolete because they fail to distinguish art from non-art when confronted with hard cases like Marcel Duchamp’s Fountain. While questions of perceptual indiscernibility are a problem for many traditional theories of (...) aesthetic experience, I argue they are not a problem for Dewey. Dewey’s account of experience is not only compatible with Dickie’s ‘institutional theory’ but Dewey’s oft criticized notion of ‘an experience’ additionally brings a needed evaluative component to contextual definitions by showing how appeals to our experience of the theoretical, historical, and institutional contexts of the ‘artworld’ can better explain how something like a urinal can become worthy of aesthetic appreciation. (shrink)

In their thought-provoking paper, Legg and Hutter consider a certain abstrac- tion of an intelligent agent, and define a universal intelligence measure, which assigns every such agent a numerical intelligence rating. We will briefly summarize Legg and Hutter’s paper, and then give a tongue-in-cheek argument that if one’s goal is to become more intelligent by cultivating music appreciation, then it is bet- ter to use classical music (such as Bach, Mozart, and Beethoven) than to use more recent pop music. (...) The same argument could be adapted to other media: books beat films, card games beat first-person shooters, parables beat dissertations, etc. We leave it to the reader to decide whether this argument tells us something about classical music, something about Legg-Hutter intelligence, or something about both. (shrink)

In Art Incorporated, you seek to debunk the myth of the artworld as autonomous of the market forces of global capitalism. Instead, you argue, works of art have become yet another commodity. However, one could say that works of art have always been commodities as well as objects of aesthetic appreciation. What makes the problem pertinent now, in the age of artists like Takashi Murakami, Jeff Koons and Damien Hirst?

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, (...) the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts. (shrink)

Theorists of aesthetic value since Hume have traditionally aimed to justify at least some comparative judgments of aesthetic value and to explain why we thereby have more reason to appreciate some aesthetic objects than others. I argue that three recent theories of aesthetic value—Thi Nguyen’s and Matthew Strohl’s engagement theories, Nick Riggle’s communitarian theory, and Dominic McIver Lopes’ network theory—face a challenge to carry out this explanatory task in a satisfactory way. I defend a monotonicity principle according to which the (...) strength of our aesthetic reasons to appreciate varies monotonically with aesthetic value and claim that these theories, because they do not respect the principle, are non-monotonic. If they cannot find a plausible way to preserve the link between the aesthetic goodness of an object and our aesthetic reasons to appreciate it, these non-monotonic theories should be rejected. (shrink)

Horwich donne une belle analyse de Wittgenstein (W) et est un érudit W de premier plan, mais à mon avis, ils sont tous en deçà d’une pleine appréciation, comme je l’explique longuement dans cet examen et beaucoup d’autres. Si l’on ne comprend pas W (et de préférence Searle aussi) alors je ne vois pas comment on pourrait avoir plus qu’une compréhension superficielle de la philosophie et de la pensée de l’ordre supérieur et donc de tout comportement complexe (psychologie, sociologie, anthropologie, (...) histoire, littérature, société). En un mot, W a démontré que lorsque vous avez montré comment une phrase est utilisée dans le contexte d’intérêt, il n’y a rien de plus à dire. Je vais commencer par quelques citations notables, puis donner ce que je pense sont les considérations minimales nécessaires pour comprendre Wittgenstein, la philosophie et le comportement humain. Tout d’abord, on pourrait noter que mettre "meta" en face de n’importe quel mot devrait être suspect. W a fait remarquer par exemple, que la métamathématique est mathématiques comme les autres. L’idée que nous pouvons sortir de la philosophie (c’est-à-dire la psychologie descriptive de la pensée de haut ordre) est elle-même une profonde confusion. Une autre irritation ici (et tout au long de l’écriture académique pour les 4 dernières décennies) est le sexisme linguistique inverse constant de «elle» et «la sienne» et «elle» ou «il / elle», etc, où «ils» et «leur» et «eux» ferait bien. De même, l’utilisation du mot Français «répertoire» où le «répertoire» anglais se portera plutôt bien. La lacune majeure est l’échec complet (bien que très commun) d’employer ce que je considère comme la vue extrêmement puissante et intuitive de deux systèmes de HOT et Searle cadre que j’ai décrit ci-dessus. C’est particulièrement poignant dans le chapitre sur le sens p111 et seq. (en particulier dans les notes de bas de page 2-7), où nous nageons dans l’eau très boueuse sans le cadre de l’automatisé vrai seul S1, propositionnelle dispositionnelle S2, COS etc. On peut également avoir une meilleure vue de l’intérieur et de l’extérieur en lisant par exemple, Johnston ou Budd (voir mes commentaires). Horwich fait cependant beaucoup de commentaires incisifs. J’ai particulièrement aimé son résumé de l’importation de la position anti-théorique de W sur p65. Il doit mettre davantage l’accent sur 'On Certainty', récemment l’objet de beaucoup d’efforts de Daniele Moyal- Sharrock, Coliva et d’autres et résumé dans mes récents articles. Horwich est de premier ordre et son travail vaut bien l’effort. On espère qu’il (et tout le monde) étudiera Searle et une certaine psychologie moderne ainsi que Hutto, Read, Hutchinson, Stern, Moyal-Sharrock, Stroll, Hacker et Baker, etc. pour atteindre une large vision moderne du comportement. La plupart de leurs papiers sont sur academia dot edu et philpapers dot org, mais pour PMS Hacker voir http : info dot sjc dot ox dot ac dot uk/ scr / hacker / DownloadPapers dot html. Il donne l’un des plus beaux résumés de l’endroit où une compréhension de Wittgenstein nous laisse que j’ai jamais vu. « Il ne doit y avoir aucune tentative d’expliquer notre activité linguistique/conceptuelle (PI 126) comme dans la réduction de l’arithmétique à la logique de Frege ; aucune tentative de lui donner des fondations épistémologiques (PI 124) comme dans les comptes basés sur le sens d’une connaissance a priori; aucune tentative de caractériser des formes idéalisées de celui-ci (PI 130) comme dans le sens logique; aucune tentative de réforme (PI 124, 132) comme dans la théorie de l’erreur de Mackie ou l’intuitionnisme de Dummett; aucune tentative de rationaliser (PI 133) comme dans le récit de Quine de l’existence; aucune tentative pour le rendre plus cohérent (PI 132) comme dans la réponse de Tarski aux paradoxes menteurs; et aucune tentative pour le rendre plus complet (PI 133) comme dans le règlement des questions d’identité personnelle pour des scénarios hypothétiques bizarres de « téléportation ». Enfin, permettez-moi de suggérer qu’avec la perspective que j’ai encouragée ici, W est au centre de la philosophie et de la psychologie contemporaines et n’est pas obscure, difficile ou non pertinente, mais scintillante, profonde et limpide et que de lui manquer est de manquer l’une des plus grandes aventures intellectuelles possibles. Ceux qui souhaitent un cadre complet à jour pour le comportement humain de la vue moderne de deuxemssyst peuvent consulter mon livre 'The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle' 2nd ed (2019). Ceux qui s’intéressent à plus de mes écrits peuvent voir «Talking Monkeys --Philosophie, Psychologie, Science, Religion et Politique sur une planète condamnée --Articles et revues 2006-2019 3e ed (2019) et Suicidal Utopian Delusions in the 21st Century 4th ed (2019) et autres. (shrink)

To what extent are factors that are extrinsic to the artwork relevant to judgments of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgments of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, (...) and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference to judgments of artistic value in both settings. These results are congruent with previous empirical research as well as recent philosophical work that defends the artistic significance of authenticity. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgments of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art. (shrink)

Destined to accompany the original French text edition of the English article devoted to the history of physics that Pierre Duhem published in 1911 in the Catholic Encyclopedia, this article proposes, firstly, to contextualize this written work by retracing the history of the various Duhemian notes that appeared in this encyclopedia, by addressing the various references to Duhem contained in the Catholic Encyclopedia’s volumes, and by briefly reiterating the main Duhemian publications in progress at the time this text was written. (...) Secondly, taking advantage of the first appearance within these notes of the word “revolution” being used to denote, on one hand, the groundwork for the basic principles of Aristotelian physics established between 1277 and 1377, and, on the other hand, Kepler’s contribution which put an end to the demands of Platonic circularity, this article also offers a terminological research of the use of this term within Duhem’s work. In doing so, it also provides some insight into the reception of Duhem’s ideas within Catholic circles (namely, an increased appreciation of its qualities), and it increases awareness as to the entirely unexpected saliency of the notion of “revolution” within the ongoing historical work of this author. (shrink)

Horwich gives a fine analysis of Wittgenstein (W) and is a leading W scholar, but in my view they all fall short of a full appreciation, as I explain at length in this review and many others. If one does not understand W (and preferably Searle also) then I don't see how one could have more than a superficial understanding of philosophy and of higher order thought and thus of all complex behavior(psychology, sociology, anthropology, history, literature, society). In a (...) nutshell, W demonstrated that when you have shown how a sentence is used in the context of interest, there is nothing more to say. I will start with a few notable quotes and then give what I think are the minimum considerations necessary to understand Wittgenstein, philosophy and human behavior. -/- First one might note that putting “meta” in front of any word should be suspect. W remarked e.g., that metamathematics is mathematics like any other. The notion that we can step outside philosophy (i.e., the descriptive psychology of higher order thought) is itself a profound confusion. Another irritation here (and throughout academic writing for the last 4 decades) is the constant reverse linguistic sexism of “her” and “hers” and “she” or “he/she” etc., where “they” and “theirs” and “them” would do nicely. Likwise the use of the French word 'repertoire' where the English 'repertory' will do quite well. The major deficiency is the complete failure (though very common) to employ what I see as the hugely powerful and intuitive two systems view of HOT and Searle’s framework which I have outlined above. This is especially poignant in the chapter on meaning p111 et seq.(esp. in footnotes 2-7), where we swim in very muddy water without the framework of automated true only S1, propositional dispositional S2, COS etc. One can also get a better view of the inner and the outer by reading e.g., Johnston or Budd (see my reviews). Horwich however makes many incisive comments. I especially liked his summary of the import of W’s antitheoretical stance on p65. Horwich is first rate and his work well worth the effort. One hopes that he (and everyone) will study Searle and some modern psychology as well as Hutto, Read, Hutchinson, Stern, Moyal-Sharrock, Stroll, Hacker and Baker etc. to attain a broad modern view of behavior. Most of their papers are on academia.edu but for PMS Hacker see http://info.sjc.ox.ac.uk/scr/hacker/DownloadPapers.html. -/- Finally, let me suggest that with the perspective I have encouraged here, W is at the center of contemporary philosophy and psychology and is not obscure, difficult or irrelevant, but scintillating, profound and crystal clear and that to miss him is to miss one of the greatest intellectual adventures possible. -/- Those wishing a comprehensive up to date framework for human behavior from the modern two systems view may consult my article The Logical Structure of Philosophy, Psychology, Mind and Language as Revealed in Wittgenstein and Searle 59p(2016). For all my articles on Wittgenstein and Searle see my e-book ‘The Logical Structure of Philosophy, Psychology, Mind and Language in Wittgenstein and Searle 367p (2016). Those interested in all my writings in their most recent versions may consult my e-book Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2016’ 662p (2016). -/- All of my papers and books have now been published in revised versions both in ebooks and in printed books. -/- Talking Monkeys: Philosophy, Psychology, Science, Religion and Politics on a Doomed Planet - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B071HVC7YP. -/- The Logical Structure of Philosophy, Psychology, Mind and Language in Ludwig Wittgenstein and John Searle--Articles and Reviews 2006-2016 (2017) https://www.amazon.com/dp/B071P1RP1B. -/- Suicidal Utopian Delusions in the 21st century: Philosophy, Human Nature and the Collapse of Civilization - Articles and Reviews 2006-2017 (2017) https://www.amazon.com/dp/B0711R5LGX . (shrink)

Paintings of music are a significant presence in modern art. They are cross-modal representations, aimed at representing music, say, musical works or forms, using colors, lines, and shapes in the visual modality. This article aims to provide a conceptual framework for understanding paintings of music. Using examples from modern art, the article addresses the question of what a painting of music is. Implications for the aesthetic appreciation of paintings of music are also drawn.