Experimental Philosophy (X-Phi) is now a fully-fledged methodological project with applications in almost all areas of analytic philosophy, including, as of recently, aesthetics. Another methodological project which has been attracting attention in the last few years is conceptual engineering (CE). Its areas of implementation are now diverse, but as was the case initially with experimental philosophy, aesthetics has unfortunately been left out (or perhaps aestheticians have failed to pay attention to CE) until now. In this paper, I argue (...) that if conceptual engineers are interested in expanding their project to the field of aesthetics, which would greatly benefit the field, then they should rely on the existing experimental work of aestheticians. Experimental philosophers have only recently started to join forces with conceptual engineers in various fields, as well as to explore the methodological implications of such an alliance. This paper goes a step further by not only arguing that CE has potential in aesthetics, but that the way to realize this potential is to piggyback, so to speak, on the work of experimental aestheticians. In other words, instead of building a CE project in aesthetics from the ground up, this paper describes the support that CE can and should derive from current experimental aesthetics, thereby making the former’s development more efficiently realizable. Furthermore, I argue that doing so would also be beneficial to experimental aesthetics. Currently, the integration of X-Phi to the wider field of aesthetics is losing ground because certain objections—notably, the objection that X-Phi cannot be of relevance to normative questions—have not been properly refuted. By pairing up with a normative programme like CE, though, experimental aestheticians should finally be able to put these objections to rest. (shrink)

Methodologically, philosophical aesthetics is undergoing an evolution that takes it closer to the sciences. Taking this methodological convergence as the starting point, I argue for a pragmatist and pluralist view of aesthetic explanations. To bring concreteness to discussion, I focus on vindicating genre explanations, which are explanations of aesthetic phenomena that centrally cite a work's genre classification. I show that theoretical resources that philosophers of science have developed with attention to actual scientific practice and the special sciences can be (...) used to make room for genre explanations in aesthetics. In turn, making room for genre explanations also demonstrates the plausibility of the pragmatist and pluralist view of aesthetic explanations. (shrink)

Central to W.E.B. Du Bois’s political theory is a conception of “world” remarkably similar to that put forward, years later, by Martin Heidegger. This point is more methodological than historical: I claim that approaching Du Bois’s work as a source, rather than as a product, of concepts that resonated with subsequent thinkers allows us to better appreciate the novelty and vision of his political theory. Exploring this resonance, I argue, helps to refine the notions of world and founding present in (...) each theorist’s work. Yet, it is only by remaining attentive to their differences that we can understand how Du Bois and Heidegger could endorse such dramatically opposed political programs despite similar theoretical starting points. (shrink)

In this critical review I explore the anti-intentionalist stance Adorno offers in his aesthetics, specifically focusing on his Notes to Literature, and the internal limits to this stance. Adorno rejects the primacy of authorial intentionalism: The presuppositions of its aesthetic methodology, he claims, place the individual in a position of epistemic priority, without exploring the social totalities which constitute the conditions of the presentation of aesthetic knowledge by any such individual. The role of the creator for Adorno is (...) inherently mediated within the context of such totalities. -/- This is not to wholly discount the role of creative intentions, however. Rather, Adorno frames the artist as a ‘bearer’ and a ‘representative of the total social subject’. In this context he allows for a qualified form of subjectivity, construed as a mode of creativity produced by a particular kind of “achieved self-awareness” or disposition of consciousness towards an “estrangement of meaning”. Indeed, the loss of the stronger presupposition that the subject acts as an authentic expository force can lead to a realization that objectivity by this means constitutes a “loss”, Adorno claims, which creates the possibility for pursuing a critical stance to facilitate the capacity for creating autonomous works of art. Creators of autonomous works acknowledge “the paradoxical relationship of the autonomous work to its commodity character” (‘Valery’s Deviations’), namely an awareness of their inherent reification. The self-alienating yet autonomous work is described by Adorno as possessing and demonstrating tacit yet genuine ‘wants’, but this is framed by the demands of the human condition to recognize how ill-fitting the forces of social production are upon and towards securing them. Aesthetic intentions and the subjects which channel them can be critically valuable if they allude to or exposit the contradictions between these demands and those forces. (shrink)

The aim of this paper is to argue that it is a promising avenue of research to consider philosophy of perception to be a guide to aesthetics. More precisely, my claim is that many, maybe even most, traditional problems in aesthetics are in fact about philosophy of perception that can, as a result, be fruitfully addressed with the help of the conceptual apparatus of philosophy of perception. This claim may sound provocative, but after qualifying what I mean by (...) aesthetics (to be contrasted with philosophy of art) and by philosophy of perception, it may be easier to accept. (shrink)

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

If complexity is a necessary but not sufficient premise for the existence and expression of the living, anticipation is the distinguishing characteristic of what is alive. Anticipation is at work even at levels of existence where we cannot refer to intelligence. The prospect of artificially generating aesthetic artifacts and ethical constructs of relevance to a world in which the natural and the artificial are coexistent cannot be subsumed as yet another product of scientific and technological advancement. Beyond the artificial, the (...) synthetic conjures the understanding of aesthetics and ethics no longer from the perspective of the How? type of question, but rather the Why? Given the current infatuation with synthetic biology (i.e., making life from non-life), there is a practical consequence to such considerations. Synthetic life, as any other form of life, implies the possibility of evolution. Anticipation, which is the underlying factor of evolution, is thus expected. At the level of human existence, anticipation is expressed, for instance (but not exclusively), in aesthetic forms and ethical values. This translates, in turn, into an argument for the role aesthetics and ethics play in the process. Consequently, to qualify as life, the synthesis of the physical and the living will have to efficiently handle ambiguity. Current computational facilities, regardless of their nature or performance, operate exclusively in the semiotic domain of the well defined non-ambiguous. (shrink)

Moritz Geiger (1880–1937) in Phänomenologische Ästhetik paper postulates aesthetics to become an autonomous science. The new science is intended to analyze aesthetic values and to discover the rules of their regulations. It tends to be separated from aesthetics as the sub-discipline of philosophy (especially under the influence of metaphysics) and aesthetics as a field of applying other sciences (mainly psychology). It may be achieved by the usage of a phenomenological method.

In a historiographical and methodological comparison of Formal Aesthetics and Iconology with the method of Affordance, the latter is to be introduced as a new method in Visual Cultural Studies. In extension ofepistemologically relevant aspects relatedtostyle and history of the artefacts, communicative and furthermoreaction and decisionrelevant aspects of artefacts become important. In this respect, it is the share of artefacts in life that the new method aims to uncover. The basis for this concern is the theory and methodological tools (...) of Visual Semiotics, which I have already presented. A direct comparison of the three methods based on the same example should clarify the points of contact and the respective performance of the methods. For this purpose, theChrist among the Doctorsof Albrecht Dürer from 1506 will be used, which was already examined in 1905 and indirectly in 1915 by the prominent representative of Formal Aesthetics Heinrich Wölfflin,and in 1914 and finally in1943by the founder of Iconology Erwin Panofsky. With the new method thecommunicative-actionand decision relevant aspects and thus their share in life should be shown. (shrink)

Development of the world economy bears numerous negative phenomena, and require constant need to rebalance socioeconomic interests of nations, transnational subjects, and individuals. Socialisation is an important and effective tool for balancing social and individual; however, despite socialisation is evolving rapidly, its scientific and practical potential is not duly uncovered. In the article theoretical and methodological foundations of socialisation of economy is surveyed in the context of globalisation, and etymology, explanations, scope, historical phases of development, theoretical aspects and practical forms (...) of use, consequences and prospects are analysed. The term «socialisation» was determined as a multidisciplinary, used in many scientific fields, increasingly involving various areas of research and is understood as inclusion, adaptation and development of human being in society. It was determined that the economy socialisation is implemented in different fields and semantic structures, contains a large number of methodological tools, is involved at all management levels, and is primarily identified with the increasing role of social component in the life of human resources. The assumptions were made about the future transformation of this category in line with the identified predictive trends. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist (...) aesthetics. Forward by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

The Nicomachean Ethics is generally thought to be a “dialectical” work, aimed at resolving aporia in a set of endoxa, which it takes as its starting-point. I argue that Aristotle’s aim in the treatise is, rather, to produce definitions of key ethical terms, and that his starting-points are limited to evaluative and discriminative judgments of a certain sort, which are demanded by the nature of the discipline and are not endoxa. I discuss also how the definitions are reached (focusing on (...) the cases of the virtues of character) and the roles that aporiai do play in the process. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...) how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that (...) have been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s (...) emphasis on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

Can music be considered a language of the emotions? The most common view today is that this is nothing but a Romantic cliché. Mainstream philosophy seems to view the claim that 'Music is the language of the emotions' as a slogan that was once vaguely defended by Rousseau, Goethe, or Kant, but that cannot be understood literally when one takes into consideration last century’s theories of language, such as Chomsky's on syntax or Tarski's on semantics (Scruton 1997: ch. 7, see (...) also Davies 2003: ch. 8, and Kania 2012). In this chapter, I will show why this common view is unwarranted, and thus go against nowadays philosophical mainstream by defending what I call the musicalanguage hypothesis. In Section 1, I will introduce the musicalanguage hypothesis and present, based on empirical evidence, some of the many similarities between language and music and explain why we should take them seriously. I will introduce a framework that aims to explain the communicative power of music using what we already know about linguistic communication (1.1). I will then outline several working hypotheses about musical grammar, musical meaning, and affective meaning (1.2), and thus defend that music is indeed very close to literally be a language of the emotions. In Section 2, I will detail some of the methodology, expectations, and preliminary results of a cross-cultural study on musical grammar that I am presently conducting between South India (Chennai) and Switzerland (Geneva and Lausanne)4. This empirical study focuses on two musical idioms and their grammatical features: Western classical music of the Common Period (ca. 1600-1900) and South Indian classical music (also know as Carnatic music). The main hypothesis of this study is that you need to master the grammar of a musical idiom in order to properly understand its musical meanings. (shrink)

Philosophers often characterize discourse in general as aiming at some sort of convergence (in beliefs, plans, dispositions, feelings, etc.), and many views about aesthetic discourse in particular affirm this thought. I argue that a convergence norm does not govern aesthetic discourse. The conversational dynamics of aesthetic discourse suggest that typical aesthetic claims have directive force. I distinguish between dynamic and illocutionary force and develop related theories of each for aesthetic discourse. I argue that the illocutionary force of aesthetic utterances is (...) typically invitational because its dynamic force is influenced by a ‘communal’ norm. I draw on dynamic pragmatics to develop a formal account of this dynamic force that explains why invitation has pride of place in aesthetic conversation. It turns out that the end of aesthetic discourse is not convergence but a distinctive form of community, a kind of harmony of individuality, that is compatible with aesthetic disagreement. If this is right, then convergence theories of aesthetic and normative discourse, and of conversation in general, need to be revised. (shrink)

Discussions of aesthetic reasons and normativity are becoming increasingly popular. This piece outlines six basic questions about aesthetic reasons, normativity, and value and discusses the space of possible answers to these questions. I divide the terrain into two groups of three questions each. First are questions about the shape of aesthetic reasons: what they favour, how strong they are, and where they come from. Second are relational questions about how aesthetic reasons fit into the wider normative landscape: whether they are (...) distinctive, what their normative status is, and how they interact with each other and with non-aesthetic reasons. This piece aims to provide a taxonomy to clarify and organise the burgeoning literature and to make a few concrete suggestions for avenues of future research. (shrink)

I distinguish several doctrines that economic methodologists have found attractive, all of which have a positivist flavour. One of these is the doctrine that preference assignments in economics are just shorthand descriptions of agents' choice behaviour. Although most of these doctrines are problematic, the latter doctrine about preference assignments is a respectable one, I argue. It doesn't entail any of the problematic doctrines, and indeed it is warranted independently of them.

In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the atmosphere. The first (...) part of this paper points to the limits of an understanding of atmosphere as a constellation of things, as proposed by Gernot Böhme. In contrast to this, Hermann Schmitz conceptualises atmosphere as half-thing which suggests movement. Drawing on this, I propose to methodologically approach atmospheres as movements. Consequently, in the second part of this paper I closely analyse two motions as they cohere in Closed Brethren worship services: first, becoming (Deleuze and Guattari), a movement on the level of the individual worshiper; secondly, territorialisation (Deleuze and Guattari), a movement of the atmosphere towards its solidification. Here music as atmosphere is not a system of moral signification but a generative power affording intimate processes of divine encounter, whilst producing affective denominational difference. (shrink)

The aim of this paper is to refer basic philosophical approaches to the problem of musical meaning and, on the other hand, to describe some examples of the research on musical meaning found in the field of cognitive neuroscience. By looking at those two approaches together it can be seen that there is still no agreement on how musical meaning should be understood, often due to several methodological problems of which the most important seem to be the possibility of inter-theoretical (...) reduction and application of an accurate theory of explanation. I am suggesting that the application of some form of the mechanistic model of explanation might be found useful for clarifying reductionism-antireductionism dispute concerning musical meaning, and more importantly, for providing some answers for the debate in music-as-language controversy. (shrink)

This essay uses the concept of reconstruction to make an argument and an intervention in relation to the practice and study of black aesthetics. The argument will have to do with the parochialism of John Dewey, the institutional inertia of professional philosophy, the aesthetic dimensions of the US politics of reconstruction, the centrality of reconstructionist politics to the black aesthetic tradition, and the staging of a reconstructionist argument in the film, Black Panther (Coogler 2018). The intervention aims to address (...) the fact that arguments like these tend not to register properly because of certain reflexive and customary limits on some common forms of philosophical inquiry. The sort of professional philosophy I was raised to practise and value tends not to be particularly inclusive and open-minded, especially when it comes to subjects that bear directly on the thoughts, lives, and practices of people racialized as black. black aesthetics, by contrast, is an inherently ecumenical enterprise, reaching across disciplinary and demographic boundaries to build communities of practice and exchange. Hence the need for an intervention: to create the space for arguments and the people who work with them to function across disciplinary and demographic contexts. (shrink)

This paper delves into the nature of intellectual property rights in aesthetic creations, particularly works of visual art and literary works. The discussion focuses on copyrights interests, but there are also implications for trademark and patent rights. The argument assumes a fairly conventional definition of "property," namely, the set of legal relations between the owner and all other persons relating to the use, enjoyment and disposition of a tangible thing. The problem with such a definition as applied to aesthetic creations (...) is that no ordinary tangible thing necessarily embodies a creation which can exist in multiple copies, so the paper takes the transcendent view that the tangible thing subject to legal relations is the entire terra firma or material universe being shaped in the image, sounds or words of the aesthetic creation. Therefore, the paradigm suggested for intellectual property is a monopoly on shaping the entire physical universe, thus the Worldmaking concept. It then follows that intellectual property in an aesthetic creation enables the owner to stop plagiarists from using any part of the material world to recreate in the audience the imaginative experiences first created by the protected work. (shrink)

This article proposes a sensory studies methodology for the interpretation of museum objects. The proposed method unfolds in two phases: virtual encounter via an on-line catalog and actual exposure in the context of a handling workshop. In addition to exploring the écart between image and object, the “Sensing Art and Artifacts” exercise articulates a framework for arriving at a multisensory, cross-cultural, interactive understanding of aesthetic value. The case studies presented here involve four objects from the collection of the Hunterian (...) Museum as sensed and interpreted by scholars of psychology, philosophy, sociology, and anthropology. It is proposed that aesthetic judgment in the expanded (cross-cultural) sense contemplated here involves apprehending the museum object through multiple sensory modalities in place of the conventional Western fixation on visible form. (shrink)

No-one can read far into our subject without finding an author linking aesthetic experience and freedom in one sense or another: Kant, notably of course, but also Schopenhauer, Schiller, and many more. In this article I want first [A] to remind you in a sentence or two of those by now classic ways of connecting concepts of freedom and aesthetic experience, and then [B] to outline some thoughts of my own. Section [C] opens up in more detail a less frequented (...) and less well-charted topic: basically, the many- layered nature of much aesthetic experience, and how that can involve freedom in an ‘improvisatory’ contribution by the apprec iator. Each layer can be thought of as containing a ‘given’—the product of earlier syntheses, plus a new component, in its turn, to be synthesized, whether historical, scientific, religious, or other. This probably occurs most of all in the aesthetic appreciation of nature, since art offers some controlling, ‘mastering’ of the appreciator’s response. (shrink)

From the earliest times art has been integral to human culture. Both fascinated and perplexed by the arts, people have tried, since the age of classical Greece, to understand how they work and what they mean. Philosophers wondered at first about the nature of art: what it is and how it relates to the cosmos. They puzzled over how art objects are created, and extolled human skills that seem at times godlike in their powers. But perhaps the central question for (...) such philosophers as Plato and Aristotle concerned our involvement with art: the response we have to beautiful things, the moral and salubrious powers of art, and perhaps most of all, the power of art to transform and transcend, leading us into a condition of enhanced perception that may be wondrous, dangerous, and at times overwhelming. The classical age displayed a richness of discussion that centered on art as an activity: an activity that is at once cosmic, social, and individual; an activity that brings understanding of a sort; an activity that may be salutary and even exalting, as in Aristotle's celebrated discussion of tragedy and its cathartic effects. Since the eighteenth century, however, this has changed. Questions about art have shifted to the idea of experience, paralleling the great change in the focus of philosophy from matters of ontology to those of epistemology. In place of starting from an examination of the nature of the universe and moving to the human position in the order of things, we have come to realize, since Descartes and Kant, that all inquiry has its inception in a human locus. Now, at the end of the twentieth century, we have finally recognized that the human factor in every kind of awareness and knowledge is structurally unavoidable. Art has become both a symptom of this change and a standard for grasping it. (shrink)

The paper argues that Brentano was the exponent of a methodological monism, which is based on the requirement that science should be grounded on experience, and not on a speculative-idealistic principle, as in the case of German idealism. In Brentano’s psychological writings, this methodological requirement concretized in two different theses: (T1) The method of psychology is identical with the method of natural science; (T2) The method of psychology is inspired by the method of natural science. The thesis of this study (...) is that an important part of Psychology from an Empirical Standpoint is elaborated in accordance with T1. By contrast, Brentano’s Descriptive Psychology illustrates the subsequent decision to give up this idea. In its place, the aforementioned requirement is elaborated in the spirit of a methodological particularism that recommends the scientist elaborate his methods according to the specificity of the phenomena under investigation and to the difficulties that need to be overcome when approaching them. (shrink)

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

Some philosophers writing on the possibility of faultless disagreement have argued that the only way to account for the intuition that there could be disagreements which are faultless in every sense is to accept a relativistic semantics. In this article we demonstrate that this view is mistaken by constructing an absolutist semantics for a particular domain – aesthetic discourse – which allows for the possibility of genuinely faultless disagreements. We argue that this position is an improvement over previous absolutist responses (...) to the relativist's challenge and that it presents an independently plausible account of the semantics of aesthetic discourse. (shrink)

This is a review of Michael Kelly's _Iconoclasm in Aesthetics_.

Does Normative Behaviourism Offer an Alternative Methodology in Political Theory?

As a practicing life scientist, Descartes must have a theory of what it means to be a living being. In this paper, I provide an account of what his theoretical conception of living bodies must be. I then show that this conception might well run afoul of his rejection of final causal explanations in natural philosophy. Nonetheless, I show how Descartes might have made use of such explanations as merely hypothetical, even though he explicitly blocks this move. I conclude by (...) suggesting that there is no reason for him to have blocked the use of hypothetical final causes in this way. (shrink)

Methodological naturalism arises as a topic in metaethics in two ways. One is the issue of whether we should be methodological naturalists when doing our moral theorising, and another is whether we should take a naturalistic approach to metaethics itself. Interestingly, these can come apart, and some naturalist programs in metaethics justify a non-scientific approach to our moral theorising. This paper discusses the range of approaches that fall under the general umbrella of methodological naturalism, and how naturalists view the role (...) of science in ethics and metaethics. It discusses how naturalism interacts with the use of intuitions, using conceptual analysis, and reflective equilibrium methods. Finally, it discusses some ways using scientific investigation can make distinctive contributions to ethics and metaethics. (shrink)

Bence Nanay, in Aesthetics as Philosophy of Perception, and Murray Smith, in Film, Art, and the Third Culture, have given us a pair of rich and interesting works about the relationships between aesthetics and the sciences of mind. Nanay’s work focuses on perception and attention, while Smith’s addresses the relations among experiential, psychological, and neuroscientific understandings of a wide range of aesthetically relevant phenomena, particularly as they occur in film. These books make a valuable contribution to a project (...) that remains fledgling: that of taking seriously the relevance of the sciences to our conceptions and explanations of experiential phenomena in aesthetics and the philosophy of art. I will focus on a specific issue from each of these works. Nanay offers an account of aesthetic experience that ties it closely to the concepts of focused and distributed attention that are invoked in the sciences of perception. While I agree with Nanay that attention should play a central role in accounts of aesthetic experience, I raise questions about his specific account of the relationship. With Smith, we zoom out to a broader issue, that of the mutual explanatory relationships among phenomenological, functional/cognitive, and neurophysiological observations in our aesthetic theorizing. Smith makes a strong claim that all three of these levels are essential and irreducible, and none is subsidiary to the others. I argue that given the current state of the science, we should not regard neurophysiological observations as being on a par with observations at the other two levels. I also raise some doubts about the prospect of neurophysiological data making an independent contribution to aesthetic theorizing, even once the science is far more advanced. (shrink)

The two principal models of design in methodological circles in architecture—analysis/synthesis and conjecture/analysis—have their roots in philosophy of science, in different conceptions of scientific method. This paper explores the philosophical origins of these models and the reasons for rejecting analysis/synthesis in favour of conjecture/analysis, the latter being derived from Karl Popper’s view of scientific method. I discuss a fundamental problem with Popper’s view, however, and indicate a framework for conjecture/analysis to avoid this problem.

This article argues for an unconventional interpretation of Arthur O. Lovejoy’s distinctive approach to method in the history of ideas. It is maintained that the value of the central concept of the ‘unit-idea’ has been misunderstood by friends and foes alike. The commonality of unit-ideas at different times and places is often defined in terms of familial resemblance. But such an approach must necessarily define unit-ideas as being something other than the smallest conceptual unit. It is therefore in tension with (...) Lovejoy’s methodological prescription and, more importantly, disregards a potentially important aspect of intellectual history – the smaller conceptual units themselves. In response to this, an alternative interpretation of unit-ideas as ‘elemental’ – as the smallest identifiable conceptual components – is put forward. Unlike the familial resemblance approach, the elemental approach can provide a plausible explanation for changes in ideas. These are construed as being either the creation of new unit-ideas, the disappearance of existing ones, or alterations in the groups of unit-ideas that compose idea-complexes. The focus on the movement of unit-ideas and idea-complexes through history can also be sensitive to contextual issues, carefully distinguishing the different meanings that single words may have, in much the way that both Lovejoy and his influential critic Quentin Skinner suggest. (shrink)

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of (...) embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (shrink)

In this short response to Kerstein and Bognar, we clarify three aspects of the complete lives system, which we propose as a system of allocating scarce medical interventions. We argue that the complete lives system provides meaningful guidance even though it does not provide an algorithm. We also defend the investment modification to the complete lives system, which prioritizes adolescents and older children over younger children; argue that sickest-first allocation remains flawed when scarcity is absolute and ongoing; and argue that (...) Kerstein and Bognar are mistaken to base their allocation principles on differences in personhood. (shrink)

Scientists regularly invoke broadly aesthetic properties like elegance and simplicity when evaluating theories, but why should we expect aesthetic pleasure to signal an epistemic good? I argue that aesthetic judgements in science are best understood as a special case of affective cognition, and that the feelings on which these judgements are based are the upshots of metacognitive monitoring of the quality of our engagement with theory and evidence. Finding a theory beautiful fallibly signals that it fits well with our background (...) knowledge and that it’s neither artificially adjusted to accommodate otherwise disconfirming evidence nor fitted to noise in the data, which makes aesthetic pleasure a good heuristic for theory evaluation. (shrink)

Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how (...) do these experiences foster self-transcendence? -/- A thematic analysis was performed on the online interviews conducted (N=25), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters. (shrink)

Political science is divided between methodological individualists, who seek to explain political phenomena by reference to individuals and their interactions, and holists (or nonreductionists), who consider some higher-level social entities or properties such as states, institutions, or cultures ontologically or causally significant. We propose a reconciliation between these two perspectives, building on related work in philosophy. After laying out a taxonomy of different variants of each view, we observe that (i) although political phenomena result from underlying individual attitudes and behavior, (...) individual-level descriptions do not always capture all explanatorily salient properties, and (ii) nonreductionistic explanations are mandated when social regularities are robust to changes in their individual-level realization. We characterize the dividing line between phenomena requiring nonreductionistic explanation and phenomena permitting individualistic explanation and give examples from the study of ethnic conflicts, social-network theory, and international-relations theory. (shrink)

The attributes of gender in the media are disputable. This can be explained by a conflict generated by culturally acquired alternative imagined hierarchies which are not compatible or may be even contradictory. This article is a philosophical enquiry that examines the representation of gender and the environment in which it is conditioned.

Scientists often use aesthetic values in the evaluation and choice of theories. Aesthetic values are not only regarded as leading to practically more useful theories but are often taken to stand in a special epistemic relation to the truth of a theory such that the aesthetic merit of a theory is evidence of its truth. This paper explores what aesthetic considerations influence scientists' reasoning, how such aesthetic values relate to the utility of a scientific theory, and how one can justify (...) the epistemic role for such values. The paper examines ways in which the link between beauty and truth can be defended, the challenges facing such accounts, and explores alternative epistemic roles for aesthetic values in scientific practice. (shrink)

Paul C. Taylor’s essay, Black Reconstruction in Aesthetics, is concerned with the relationship between language—in particular, what Taylor refers to as “terms”—and how we construct and live in the world. Following theorist Fred Moten, Taylor argues that “terms” are the “tools” through which we put ourselves and things into “play”. That is, “terms” help to shape how, when, and why we enter into social space with others. The “term” that Taylor is concerned with is “reconstruction”. In particular, Taylor is (...) concerned with how philosopher John Dewey utilizes the “term”, and the social space enacted through his usage. Taylor queries what is missing in Dewey’s “term”—namely, “race” and the history of “racialization”—and what this might imply about the social space that Dewey’s “term” invites us to enter. (shrink)

This paper advances the thesis of methodological mechanism, the claim that to be committed to mechanism is to adopt a certain methodological postulate, i.e. to look for causal pathways for the phenomena of interest. We argue that methodological mechanism incorporates a minimal account of understanding mechanisms, according to which a mechanism just is a causal pathway described in the language of theory. In order to argue for this position we discuss a central example of a biological mechanism, the mechanism of (...) cell death, known as apoptosis. We argue that this example shows that our philosophically deflationary account is sufficient in order to have an illuminating account of mechanisms as the concept is used in biology. (shrink)