We are often confronted with attempts to debunk our aesthetic tastes, like: “You only like jazz because you’re a pretentious hipster,” or, “Your love of the Western canon is just colonialism speaking.” Such debunking arguments often try to give a socio-historical accounting, intended to de-legitimize our tastes by showing that they arise from processes uninterested in real aesthetic value. One common version is the Art Populist debunk: that claims of aesthetic expertise in esoteric arts are really just elitist (...) gatekeeping. Then we have its mirror twin, the Art Expert debunk: that the populist love of simple arts serves the interests of profiteering entertainment corporations dispensing simplified slop. Suppose we accept one of these debunking argument. How are we supposed to got on? Are we supposed to not like the things we like, or force ourselves to choke down food we don’t enjoy? And suppose we accept both of these debunking arguments — what then? Are we supposed to simply give up our grip on beauty altogether? This is hard to imagine. Aesthetic debunking arguments have a harder time getting a grip on us, because aesthetic life involves a distinctively tight relationship between our felt aesthetic phenomena and our aesthetic judgments. Aesthetic life gives us phenomenal resistance to debunking arguments, when our felt loves lag behind our endorsed beliefs. I suggest a way through that offers a livable accommodation. We may be able to treat such debunking arguments, not as targeting the positive content of our taste, but as targeting the boundaries and limitations on our taste. That is, a Populist may not be able to debunk my deep felt love of opera, but they may be able to debunk my dismissal of dance-pop. In this case, we can take onboard both the Art Expert’s and the Art Populist’s debunking arguments, as targeting different varieties of narrowness and dismissal. These debunkings, then, move us, not towards aesthetic nihilism, but aesthetic expansionism. (shrink)

Sentences such as 'Chocolate tastes good' have been widely discussed as sentences that give rise to faultless disagreement. As such, they actually belong to the more general class of impersonal perception reports, which include 'The violin sounds / looks strange' as well sentences that are about an agent-centered situation such as 'It feels / seems like it is going to rain'. I maintain the view that faultless disagreement is due to first person-based genericity, which, roughly, consists in attributing a (...) property to anyone the speaker (or described agent) identifies with (which generally requires a first-person experience) (Moltmann 2010). Unlike my previous analysis (and similar analyses), this paper no longer makes use of experiencers or judges as implicit arguments of taste predicates, but argues that impersonal perception verbs (taste, look, feel, seem), have a logophoric character. More precisely, such verbs describe perceptual occurrences whose experiencer is identical to the agent of the utterance situation, described attitudinal situation, or the situations a generic operator may range over. Perceptual occurrences are sharply distinguished ontologically from perceptual experiences as well as perceptual objects, entities we refer to as ‘the taste of chocolate’, ‘the sound of the violin’, ‘the look of the violin’. Sentences about perceptual objects ('the taste of chocolate is good', 'the sound of the violin is great', 'the look of the violin is beautiful') also give rise to faultless disagreement, but the source of that is a first-person-based attribution of an evaluative predicate to an (objective) perceptual object. (shrink)

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

In this paper, I investigate the relation between recipes and taste. In particular, I do three things. First, I sketch and articulate different versions of essentialism, a view that I take to reflect our pre-theoretical intuitions on the matter. Roughly, on this view, taste is essentially related to recipes—either by contributing to their identity or by being otherwise strongly related to it. Second, I argue that no version of essentialism is really convincing; hence, I conclude, recipes and taste are not (...) essentially related. Third, after drawing some general lessons from the discussion, I lay the ground for an alternative approach to account for that relation. My final suggestion will be that the main source of the relation between recipes and taste is not to be found in recipes themselves and their essences, but in dishes—i.e., the concrete instances of a recipe. (shrink)

Two common strategies have dominated attempts to account for the nature of taste. On the one side, we have an affectivist understanding of taste where aesthetic attribution has to do with the expression of a subjective response. On the other side, we find a non-affectivist approach according to which to judge something aesthetically is to epistemically track its main aesthetic properties. Our main argument will show that neither emotion nor perception can explain the nature of aesthetic taste single-handedly. In this (...) paper, our principal aim is to examine the relationship between perceptual discernment and emotional sensibility as we find it in the process of ascribing aesthetic qualities. Is it the nature of the specific aesthetic property in question which determines the way in which perception and emotion are balanced in aesthetic attribution, or is it, rather, something about how our sensory skills operate? One of the notions we would like to explore in greater detail in this context is the idea of attunement, or the way in which aesthetic agents can align themselves to the content of an artwork o in order to better grasp its content and significance. According to our proposed picture, the exercise of taste involves an adjustment of one’s emotional sensibility to the aesthetic character of o. From here, we will posit both emotional and perceptual training as part of an agent’s aesthetic education in her use of aesthetic terms. (shrink)

Simple taste predications come with an acquaintance requirement: they require the speaker to have had a certain kind of first-hand experience with the object of predication. For example, if I tell you that the creme caramel is delicious, you would ordinarily assume that I have actually tasted the creme caramel and am not simply relying on the testimony of others. The present essay argues in favor of a 'lightweight' expressivist account of the acquaintance requirement. This account consists of a recursive (...) semantics and an account of assertion; it is compatible with a number of different accounts of truth and content, including contextualism, relativism, and purer forms of expressivism. The principal argument in favor of this account is that it correctly predicts a wide range of data concerning how the acquaintance requirement interacts with Boolean connectives, generalized quantifiers, epistemic modals, and attitude verbs. (shrink)

According to contextualism, the extension of claims of personal taste is dependent on the context of utterance. According to truth relativism, their extension depends on the context of assessment. On this view, when the taste preferences of a speaker change, so does the truth value of a previously uttered taste claim, and the speaker might be required to retract it. Both views make strong empirical assumptions, which are here put to the test in three experiments with over 740 participants. It (...) turns out that the linguistic behaviour of ordinary English speakers is consistent with contextualist predictions and inconsistent with the predictions of the most widely discussed form of truth relativism advocated by John MacFarlane. (shrink)

In theoretical work about the language of personal taste, the canonical example is the simple predicate of personal taste, 'tasty'. We can also express the same positive gustatory evaluation with the complex expression, 'taste good'. But there is a challenge for an analysis of 'taste good': While it can be used equivalently with 'tasty', it need not be (for instance, imagine it used by someone who can identify good wines by taste but doesn't enjoy them). This kind of two-faced behavior (...) systematically arises with complex sensory-evaluative predicates, including those with other appearance verbs, such as 'look splendid' and 'sound nice'. I examine two strategies for capturing these different uses: one that posits an ambiguity in appearance verbs, and one that does not. The former is in line with an approach to 'look'-statements prominent in work in philosophy of perception, and I consider how the motivation given in that tradition carries over to the present context. I then show how the data used to support the verbal ambiguity approach can equally be captured on the second strategy, which appeals only to independently-motivated flexibility in adjective meaning. I close by discussing some considerations that are relevant for choosing between the two options. (shrink)

Binge-watching is the mode of consumption of modern digital media platforms. However, taste-watching, a mode of media consumption that prioritizes breadth over depth and diversity over selectivity, may be proposed as a more revolutionary alternative. Whereas binge-watching tends to trap a viewer in a monomythic, self-oriented, culturally limited, system of control; taste-watching has the potential to open viewers to experimentation, empathy, cultural capital, and political resistance.

It may be that Kant’s inherently communal concept of taste is a morally laden notion that blurs the line between the good and the beautiful, on the one hand, and moral evaluation and aesthetic appreciation, on the other. In particular, it can be shown how, on Kant’s view, moralistic factors, such as considerations of social appropriateness, enter into estimations of aesthetic value. Moreover, Kant’s tendency to overlap taste and morals suggests an underlying assumption operative in Kant’s aesthetics. According to this (...) ‘decency assumption’, as I have termed it, taste is first and foremost a trait of people with certain supposedly refined socio-moral characteristics. Kant also seems to think that having good taste and a morally good character go hand in hand. Even though we do find separate sets of ultimate principles in Kant’s ethics and aesthetics, the aforesaid assumption nevertheless implies a shared ground between these two branches of philosophy and thereby links them tightly together, contrary to the common view that ethics and aesthetics are distinct enterprises. In addition, Kant’s morally laden conception of taste will be shortly examined in relation to the Enlightenment project as Kant saw it and our contemporary world. (shrink)

Well-being can be promoted in two ways. Firstly, by affecting the quantity, quality and allocation of bundles of consumption (the Resource Approach), and secondly, by influencing how people benefit from their goods (the Taste Approach). Whereas the former is considered an ingredient of economic analysis, the latter has conventionally not been included in that field. By identifying the gain the Taste Approach might yield, the article questions whether this asymmetry is justified. If successfully exercised, the Taste Approach might not only (...) enable people to raise their wellbeing, but also provide solutions to a number of issues such as sustainable development and global justice. The author argues that recently developed accounts such as Happiness Economics (HE) and Libertarian Paternalism (LP) both can be considered specifications of the Taste Approach. Furthermore a third specification is identified: Inexpensive Preference Formation (IPF). Whereas LP suggests that choice architecture should be exercised when rationality fails, IPF holds that governance in certain instances should improve choices also in absence of no such failure. (shrink)

This paper explores taste fragmentalism, a novel approach to matters of taste and faultless disagreement. The view is inspired by Kit Fine’s fragmentalism about time, according to which the temporal dimension can be constituted—in an absolute manner—by states that are pairwise incompatible, provided that they do not obtain together. In the present paper, we will apply this metaphysical framework to taste states. In our proposal, two incompatible taste states (such as the state of rhubarb’s being tasty and the state of (...) rhubarb’s being distasteful) can both constitute reality in an absolute manner, although no agent can have joint access to both states. We will then develop a formalised version of our view by means of an exact truthmaker semantics for taste assertions. Within this framework—we argue—our linguistic and inferential practices concerning cases of faultless disagreement are elegantly vindicated, thus suggesting that taste fragmentalism is worth of further consideration. (shrink)

A series of recent experimental studies have cast doubt on the existence of a traditional tension that aestheticians have noted in our aesthetic judgments and practices, viz. the problem of taste. The existence of the problem has been acknowledged since Hume and Kant, though not enough has been done to analyse it in depth. In this paper, we remedy this by proposing six possible conceptualizations of it. Drawing on our analysis of the problem of taste, we argue that the experimental (...) results in question are not a real challenge to its existence. By contrast, they provide empirical evidence in its support. (shrink)

According to indexical contextualism, the perspectival element of taste predicates and epistemic modals is part of the content expressed. According to nonindexicalism, the perspectival element must be conceived as a parameter in the circumstance of evaluation, which engenders “thin” or perspective-neutral semantic contents. Echoing Evans, thin contents have frequently been criticized. It is doubtful whether such coarse-grained quasi-propositions can do any meaningful work as objects of propositional attitudes. In this paper, I assess recent responses by Recanati, Kölbel, Lasersohn and MacFarlane (...) to the “incompleteness worry”. None of them manages to convince. Particular attention is devoted to an argument by John MacFarlane, which states that if perspectives must be part of the content, so must worlds, which would make intuitively contingent propositions necessary. I demonstrate that this attempt to defend thin content views such as nonindexical contextualism and relativism conflates two distinct notions of necessity, and that radical indexicalist accounts of semantics, such as Schaffer’s necessitarianism, are in fact quite plausible. (shrink)

Today, a consistent part of our everyday interaction with art and aesthetic artefacts occurs through digital media, and our preferences and choices are systematically tracked and analyzed by algorithms in ways that are far from transparent. Our consumption is constantly documented, and then, we are fed back through tailored information. We are therefore witnessing the emergence of a complex interrelation between our aesthetic choices, their digital elaboration, and also the production of content and the dynamics of creative processes. All are (...) involved in a process of mutual influences, and are partially determined by the invisible guiding hand of algorithms. -/- With regard to this topic, this paper will introduce some key issues concerning the role of algorithms in aesthetic domains, such as taste detection and formation, cultural consumption and production, and showing how aesthetics can contribute to the ongoing debate about the impact of today’s “algorithmic culture”. (shrink)

In this paper I argue that the best explanation of expertise about taste is that such alleged experts are simply more eloquent in describing the taste experiences that they have than are ordinary tasters.

I defend the assumption that an expression like “for Anna,” as it occurs in a sentence like “Whale meat is tasty for Anna,” is a sentential operator, against two related, albeit opposite worries. The first is that in some cases the putative operator might not be selective enough. The second is that in other cases it might on the contrary be too selective. I argue that these worries have no tendency to cast doubt on the assumption of sententiality for the (...) relevant expressions. (shrink)

My aesthetic judgements seem to make claims on you. While some popular accounts of aesthetic normativity say that the force of these claims is third-personal, I argue that it is actually second-personal. This point may sound like a bland technicality, but it points to a novel idea about what aesthetic judgements ultimately are and what they do. It suggests, in particular, that aesthetic judgements are motions in the collective legislation of the nature of aesthetic activity. This conception is recommended by (...) its ability to explain some important but otherwise recondite features of aesthetic practice and, more importantly, by allowing us to ground the normativity of aesthetic judgement in the familiar normativity of practice. It also offers a more systematic way of understanding the rivalry between the ideals of aesthetic universality and diversity. (shrink)

According to Friedrich Schleiermacher, religiosity is rooted in feeling (Gefühl). As a result of our engagement with the world, on which we depend and which we can influence, we have both a sense of dependence and of freedom. Schleiermacher speculated that a sense of absolute dependence in reflective beings with self-consciousness (human beings) gave rise to religion. Using insights from contemporary philosophy of biology and cognitive science, I seek to naturalize Schleiermacher's ideas. I moreover show that this naturalization is in (...) line with Schleiermacher's outlook on biology, as he already had evolutionary considerations in mind when he wrote the Christian Faith (1830). While Schleiermacher rejects natural theology in a narrow sense (proofs for the existence of God), his project is natural theological in a broader sense, as it roots religion in experiences that we can examine using naturalistic theories. (shrink)

It is possible to construct situations (with a suitable kind of setting) in which one speaker utters ‘This is tasty’ and another speaker responds with ‘That’s not true’. The aim of this paper is to motivate the idea that typical (broadly) expressivist accounts of taste disagreements are not in a position to explain such situations (although some of them can successfully explain disagreements in which another kind of dissent phrase—like ‘Nuh-uh’—is employed). This is because utterances of ‘That’s not true’ are (...) typically used to ascribe falsehood to propositions. Taste expressivism has it, however, that when one utters ‘This is tasty’, one typically manifests her evaluative attitude (which is non-propositional) toward something rather than describes what attitude she bears toward the thing. Another aim of the paper consists in proposing an alternative account of taste disagreements. It is close to taste expressivism when it comes to the explanation of disagreements in which speakers respond with ‘Nuh-uh’ to utterances of ‘This is tasty’, but departs from it in situations in which they respond with ‘That’s not true’. The account is developed within a contextualist framework according to which taste utterances express contextually enriched propositions that contain judges who evaluate things as tasty or not. (shrink)

This article exploits a core defect in the phenomenology of sensation and self. Although phenomenology has made great strides in redeeming the body from cognitive solipisisms that often follow short-sighted readings of Descartes and Kant, it has not grappled with the specific kind of self-reflexivity that emerges in the sense of taste with the thoroughness it deserves. This path is illuminated by the works of Martin Luther, Jean-Luc Marion, and Jacques Derrida as they attempt to think through the specific phenomena (...) accessible through the lips, tongue, and mouth. Their attempts are, in turn, supplemented with detours through Walter Benjamin, Hélène Cixous, and Friedrich Nietzsche. The paper draws attention to the German distinction between Geschmack and Kosten as well as the role taste may play in relation to faith, the call to love, justice, and messianism. The messiah of love and justice will have been that one who proclaims: taste the flesh. (shrink)

Drawing on Husserl, Ingarden and Levinas’ works, this article explores Ibsen’s Rosmersholm from a phenomenological perspective, aiming to shed light both on this play and on the phenomenology of hunger and theatre, as well as on the larger meaning of alimentary enjoyment.

This paper explores the tensions and potential contradictions in the “self-construction” of habits and preferences, arguing that preferences and tastes not only arise from habit formation but also contribute to the development of new habits. Changing tastes necessitates self-reflection on our current preferences and habits, which then become subjects of evaluation, transformation, and alteration from a higher-order perspective. It will be argued that modifying the structure of one’s habits and preferences requires various forms of (self)-distancing: these include the (...) impossibility of immediate transformation, recognizing the gradual nature of change, and acknowledging the limits of direct intentionality and control in the transformative process. These points ultimately reveal the inherent indeterminacy and openness of any self-cultivation endeavor involving preference-based habits, highlighting its balance between controllability and the potential for its loss. (shrink)

The central aim of this article is to argue that Nietzsche takes his own taste, and those in the relevant sense similar to it, to enjoy a kind of epistemic privilege over their rivals. Section 2 will examine the textual evidence for an anti-realist reading of Nietzsche on taste. Section 3 will then provide an account of taste as an ‘affective evaluative sensibility’, asking whether taste so understood supports an anti-realist reading. I will argue that it does not and that (...) we should resist construing the affects, which constitute taste for Nietzsche, as no more than Humean subjective preferences. Section 4 will then consider passages in which Nietzsche makes a connection between taste and epistemic considerations, suggesting that he appears to situate the epistemic privilege of his taste in a more fundamental method of evaluative disclosure, namely pre-reflective affective responses. Finally, Section 5 will argue that we can make sense of how such affective responses could provide us with evaluative knowledge by narrowing the scope of the objects of Nietzsche’s taste to other affective-evaluative states, such that the affective responses are meta-affective evaluations. On the basis of this idea, I construct a theory of meta-affective responses providing their subjects with access to the intrinsic phenomenal value of other affective-evaluative states, and then go on to show how Nietzsche can be read as applying this theory in a number of passages. (shrink)

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...) they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

The recent literature abounds with accounts of the semantics and pragmatics of so-called predicates of personal taste, i.e. predicates whose application is, in some sense or other, a subjective matter. Relativism and contextualism are the major types of theories. One crucial difference between these theories concerns how we should assess previous taste claims. Relativism predicts that we should assess them in the light of the taste standard governing the context of assessment. Contextualism predicts that we should assess them in the (...) light of the taste standard governing the context of use. We show in a range of experiments that neither prediction is correct. People have no clear preferences either way and which taste standard they choose in evaluating a previous taste claim crucially depends on whether they start out with a favorable attitude towards the object in question and then come to have an unfavorable attitude or vice versa. We suggest an account of the data in terms of what we call hybrid relativism. (shrink)

Simple sentences containing predicates like "tasty" and "beautiful" typically suggest that the speaker has first-hand knowledge of the item being evaluated. I consider two explanations of this acquaintance inference: a presuppositional approach and a pragmatic-epistemic approach. The presuppositional approach has a number of virtues, but runs into trouble because the acquaintance inference has a very different projection pattern from that of standard presuppositions. The pragmatic-epistemic approach accounts for the main data discussed in the paper, but faces challenges of its own.

This chapter compares simple predicates of personal taste (PPTs) such as tasty and beautiful with their complex counterparts (eg tastes good, looks beautiful). I argue that the former differ from the latter along two dimensions. Firstly, simple PPTs are individual-level predicates, whereas complex ones are stage-level. Secondly, covert Experiencer arguments of simple PPTs obligatorily receive a generic interpretation; by contrast, the covert Experiencer of a complex PPT can receive a generic, bound variable or referential interpretation. I provide an analysis (...) of these facts based on a novel proposal about the licensing of individual-level predicates (the ‘Licensing Condition on ILPs’). This condition states that all covert pronominal arguments of an individual-level predicate must be bound by the generic operator. Finally, I show that generic construal of the Experiencer is a necessary condition for faultless disagreement. This is evidence in favour of treatments of subjective meaning that appeal to genericity, and against relativism about PPTs. (shrink)

이 책자는 형식 논리의 일종인 양상논리에 입문하고 싶으신 분들을 위한 짧은 교재입니다. “양상논리 맛보기” 라는 말마따나, 이 책자는 양상논리에 관심은 있지만 아직 본격적으로 공부를 시작하진 않은 분들께서 ‘맛보기’를 하기에 적합한 안내 책자입니다. 아무쪼록 이 책자가 양상논리를 공부해나가시는데 유용한 첫 발판이 될 수 있기를 바랍니다. / This booklet is a Korean adaptation and translation of Part VIII of forall x: Calgary (Fall 2021 edition), which is intended to be introductory material for modal logic. The original text is based on Robert Trueman's (...) A Modal Logic Primer, which is revised and expanded by Richard Zach and Aaron Thomas-Bolduc in forall x: Calgary. (forall x: Calgary is based on forall x: Cambridge by Tim Button, which is in turn based on forall x by P. D. Magnus, and also includes material from forall x: Lorain County Remix by Cathal Woods and J. Robert Loftis.) This booklet is licensed under a Creative Commons Attribution 4.0 license. (shrink)

It is generally accepted that sight—the capacity to see or to have visual experiences—has the power to give us knowledge about things in the environment and some of their properties in a distinctive way. Seeing the goose on the lake puts me in a position to know that it is there and that it has certain properties. And it does this by, when all goes well, presenting us with these features of the goose. One might even think that it is (...) part of what it is to be a perceptual capacity that it has this kind of epistemological power, such that a capacity that lacked this power could not be perceptual. My focus in this essay is the sense of taste—the capacity to taste things or to have taste experiences. It has sometimes been suggested that taste lacks sight-like epistemological power. I argue that taste has epistemological power of the same kind as does sight, but that as a matter of contingent fact, that power often goes unexercised in our contemporary environment. We can know about things by tasting them in the same kind of way as we can know about things by seeing them, but we often do not. I then consider the significance of this conclusion. I suggest that in one way, it matters little, because our primary interest in taste is not epistemic but aesthetic. But, I end by suggesting, it can matter ethically. (shrink)

In the Critique of the Power of Judgment, Immanuel Kant argues that when we form a judgment of taste, the representation goes together with a demand that we require others to share. Some commentators note that the aesthetic feeling in a judgment of taste and its expectant universality seems to display a normative necessity in the explicit judgment itself, and that the expression of this normative component is sometimes stated as a claim to which everyone ought to conform. In this (...) paper, I argue that the normative component of taste and its concomitant demand should not be interpreted too strongly as an actual expectation, but rather as only a conceivable possibility. Toward this end, I examine several passages for the declaration of taste to call into view certain caveats which suggest that Kant’s description of an intersubjective demand arising concomitantly with a judgment of taste functions only as an “analogical ought,” i. e., that the demand of taste is expressed as if the satisfaction I feel in a judgment of taste can possibly demand universal assent. (shrink)

One of the gravest charges that has been brought against Hume’s essay “Of the Standard of Taste” is that of circularity. Hume is accused of defining good art in terms of “true judges,” and of defining true judges in terms of their ability to judge good art. First, I argue that Hume avoids circularity since he offers a way of identifying good art that is logically independent of the verdict of true judges. Second, I argue that this clarifies an enduring (...) puzzle in the scholarship on Hume’s essay: why he appears to offer not one but two standards of taste. Hume’s standard does not consist of general rules; however, Hume needs general rules to establish that some individuals’ tastes are more “delicate” than others’. (shrink)

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest anAesthetic Self Effectsupporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such (...) as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found anAnaesthetic Self Effect.That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes. (shrink)

In this paper we discuss a phenomenon we call perspectival plurality, which has gone largely unnoticed in the current debate between relativism and contextualism about predicates of personal taste. According to perspectival plurality, the truth value of a sentence containing more than one PPT may depend on more than one perspective. Prima facie, the phenomenon engenders a problem for relativism and can be shaped into an argument in favor of contextualism. We explore the consequences of perspectival plurality in depth and (...) assess several possible responses on behalf of advocates of relativism. (shrink)

Synthetic foods advocates offer the promise of efficient, reliable, and sustainable food production. Engineered organisms become factories to produce food. Proponents claim that through this technique important barriers can be eliminated which would facilitate the production of traditional foods outside their climatic range. This technique would allow reducing food miles, secure future supply, and maintain quality and taste expectations. In this paper, we examine coffee production via biobased means. A startup called Atomo Coffee aims to produce synthetic coffee with the (...) aim of saving ‘the taste of coffee’ from the effects of climate change. This decontextualisation of coffee production ignores the current and historical contributions of coffee farmers in two ways: the traditional varieties in taste of coffee and their cultural significance, and the potential shade-grown coffee plantations have in capturing carbon. In addition, synthetic coffee may lead to the loss of agricultural biodiversity and the removal of resources away from production systems that provide a safe space for tropical flora and fauna. How should the ‘taste of coffee’ be owned? We investigate the property regimes under which we could consider owning the taste of coffee as a ‘synthetic’ agrobiodiversity to help identify rights and responsibilities. Building on this analysis, we consider dimensions of responsible innovation and social justice to help guide synthetic foods as an agricultural innovation. (shrink)

Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...) they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

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

Can we adequately account for our reasons of mere taste without holding that our desires ground such reasons? Recently, Scanlon and Parfit have argued that we can, pointing to pleasure and pain as the grounds of such reasons. In this paper I take issue with each of their accounts. I conclude that we do not yet have a plausible rival to a desire-based understanding of the grounds of such reasons.

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)

In the debate between contextualism and relativism about predicates of taste, the challenge from disagreement (the objection that contextualism cannot account for disagreement in ordinary exchanges involving such predicates) has played a central role. This paper investigates one way of answering the challenge consisting on appeal to certain, less focused on, uses of predicates of taste. It argues that the said thread is unsatisfactory, in that it downplays certain exchanges that constitute the core disagreement data. Additionally, several arguments to the (...) effect that the exchanges in question don’t amount to disagreement are considered and rejected. (shrink)

Kant’s argument in § 38 of the *Critique of Judgment* is subject to a dilemma: if the subjective condition of cognition is the sufficient condition of the pleasure of taste, then every object of experience must produce that pleasure; if not, then the universal communicability of cognition does not entail the universal communicability of the pleasure. Kant’s use of an additional premise in § 21 may get him out of this difficulty, but the premises themselves hang in the air and (...) have no independent plausibility. What Kant offers as a proof of our right to make judgments of taste is more charitably construed as an indirect argument for the adequacy of a speculative explanation of a *presumed* right to make judgments of taste. (shrink)

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

Despite appeals to Hume in debates over moralism in art criticism, we lack an adequate account of Hume’s moralist aesthetics, as presented in “Of the Standard of Taste.” I illuminate that aesthetics by pursuing a problem, the moral prejudice dilemma, that arises from a tension between the “freedom from prejudice” Hume requires of aesthetic judges and what he says about the relevance of moral considerations to art evaluation. I disarm the dilemma by investigating the taxonomy of prejudices by which Hume (...) justifies the true judge’s moralism. The result distinguishes Hume’s aesthetic and moral points of view while defending aesthetic moralism. (shrink)

Necessity can be ascribed not only to propositions, but also to feelings. In the Critique of Judgment (KdU), Immanuel Kant argues that a feeling of beauty is the necessary satisfaction instantiated by the ‘free play’ of the cognitive faculties, which provides the grounds for a judgment of taste (KdU 5:196, 217-19). In contradistinction to the theoretical necessity of the Critique of Pure Reason and the moral necessity of the Critique of Practical Reason, the necessity assigned to a judgment of taste (...) is exemplary necessity (KdU 5:237). Necessity can also be assigned by employing the de re/de dicto distinction, namely, by ascribing entailments of what must necessarily hold to either a thing (de re) or to a proposition (de dicto). Although Kant does not use the distinction in any of the three Critiques, this omission has not prevented Kant scholars from applying the distinction in their analyses of the first two Critiques. In this paper, I examine the role that modality plays in Kant’s third Critique and I attempt to bring the de re/de dicto distinction to bear on Kant’s famous aesthetic theory. Ultimately, I perform a retrospective classification of the modality of taste by arguing that because a judgment of taste is not a statement about an objective fact, a judgment of ‘x is beautiful’ can only be read as de dicto necessary. (shrink)

This is a book about taste--the thing your tongue (and nose) do. It’s also a book about Taste--the thing the art critic has. It’s a book about food, art, and the relations between food and art. Do those two categories overlap? Where and how? How we might best understand and appreciate food in light of the way we understand and appreciate art? It’s a book about how the divergent histories of taste and Taste have left us with an impoverished understanding (...) of the former--and thus a deep skepticism about the aesthetic worth of food. Korsmeyer suggests that her project will illuminate readers’ understanding of food--and observes that it might well illuminate our understanding of art as well. She succeeds on both counts. (shrink)

Against interpretations of Kant that would assimilate the universality claim in judgments of taste either to moral demands or to theoretical assertions, I argue that it is for Kant a normative requirement shared with ordinary empirical judgments. This raises the question of why the universal agreement required by a judgment of taste should consist in the sharing of a feeling, rather than simply in the sharing of a thought. Kant’s answer is that in a judgment of taste, a feeling assumes (...) the role of predicate. Such a solution presents a problem as serious as the one it purports to solve. (shrink)

In the 1881 note 11 [156], Nietzsche mentions the “infinitely small moment” as “the highest reality and truth” for the individual who tries to contrast the “uniformity of sensations” and to affirm his “idiosyncratic taste”. The fragment explores some ideas on the herd instinct that will be developed in "The Gay Science"; observations on the cultural and anthropological value of science; critical refections on metaphysical realism. Most important, these considerations focus on the relationship between man and society, which is the (...) plane of the standardized “normal taste” selected throughout the evolution of mankind. The paper explores these issues and especially deals with the dialectic relationship between the individual and the community viewpoint that Nietzsche seems to take into account. (shrink)

In the debate between relativism and contextualism about various expressions, the Operator Argument, initially proposed by Kaplan , has been taken to support relativism. However, one widespread reaction against the argument has taken the form of arguing against one assumption made by Kaplan: namely, that certain natural language expressions are best treated as sentential operators. Focusing on the only extant version of the Operator Argument proposed in connection to predicates of personal taste such as “tasty” and experiencer phrases such as (...) “for Anna” ), in this paper I investigate whetherthe reasons offered by Cappelen and Hawthorne against various assumptions of the argument failing in the case of modal, temporal, locationaland precisional expressions transfer to the case of experiencer phrases to undercut support for relativism about predicates of personal taste. My aim is to show that they don’t. Thus, I first show that their considerations against experiencer phrases such as “for Anna” being sentential operators are not decisive. Second, I show that even if granting that such experiencer phrases are not sentential operators, a suitably modified version of the Operator Argument can be defended from the objections they raise. (shrink)