This paper addresses a problem about aesthetic normativity raised by Kant. Can aesthetic experiences be appropriate or inappropriate to their objects? And, if so, how is that possible given that, according to Kant, aesthetic experience is not objective? Kant thought the answer to the first question was yes. But his official answer to the second question, in terms of the free play of the faculties, is obscure. The paper offers a clearer answer, inspired by Kant, which (...) invokes Wittgenstein’s notion of “knowing how to go on.” Aesthetic normativity is problematic only on the assumption that claims to the normativity of one’s responses to things must be based on the recognition of objective properties of those things. However, Wittgenstein’s discussion shows that we need not accept that assumption. There can be legitimate claims to the normativity of one’s responses which do not rely on those responses’ reflecting appreciation of objective facts. (shrink)

In the Introduction to the Critique of the Power of Judgment, Kant claims that the Critique of Pure Reason accounted for the necessary conditions of experience and knowledge in general, but that it was not a complete transcendental account of the possibility of a particular empirical experience of objects and knowledge of empirical laws of nature. To fill this gap the third Critique puts forward, as an additional transcendental condition, the regulative principle of the purposiveness of nature. In this paper, (...) I will attempt to show how Kant’s account of pure aesthetic judgment can be read as articulating an aesthetic non-conceptual condition of the search for the conceptual order of nature and so as constituting an essential part of the account of the transcendental conditions of empirical experience and knowledge. (shrink)

A theory of aesthetic normativity states what makes it the case that the fact that an item is beautiful is reason to appreciate it. Aesthetic hedonists characteristically hold that the fact that an item is beautiful is reason to appreciate it because anyone always has reason to do what yields pleasure. Bernard Bolzano was an aesthetic hedonist who is best interpreted as offering a mixed theory of aesthetic normativity. The fact that an item is (...) beautiful is reason to appreciate it because anyone always has reason to do what yields pleasure and because anyone also has reason to do what fosters virtue, the capacity to act well. The argument for this interpretation knits together Bolzano’s aesthetics, his ethics, and his philosophy of science. In doing so, this argument opens up a new perspective on aesthetic normativity. (shrink)

Aesthetic normativity continues to be of interest in contemporary aesthetics, and significant contributions to the topic can be found in neo-Kantianism. This article examines the account of aesthetic normativity presented by Jonas Cohn (1869–1947), a member of the Southwestern school of neo-Kantianism and author of a 1901 book on aesthetics. Cohn's Kantian-Hegelian theory of aesthetic normativity deserves more examination than it has so far received. Even if one does not accept all of its main (...) arguments, Cohn's theory offers an interesting alternative to the third Critique's account of the universal validity of aesthetic judgments, and it reveals how Kant's aesthetic theory was appropriated at the turn of the century. Since a number of objections can be raised against Cohn's account, however, at the end of the paper I raise several of them. (shrink)

The notion of normativity has been key to an actualizing reading of the subjective universality that for Kant characterizes the aesthetic judgment. However, in the scholarly literature little discussion is made, somehow unsurprisingly, of what exactly we should understand by normativity when it comes to Kant’s aesthetics. Recent trends show indeed the tendency to take normativity very broadly to the point of nuancing most of its core meaning. Based on how we speak about normativity in (...) aesthetics, we seem indeed to have accepted that every kind of evaluative process is normative. I will argue that the sentimentalist elements of Kant's account call for a revision of its normative interpretations, for a better framing of its subjective universalism, and finally for a reconsideration of aesthetic normativity in favour of regulativity. (shrink)

The notion of a correct appreciation of nature, like the one put forward in Carlson’s environmental account, has been rejected by many other authors in the aesthetics of the natural environment. Their critics challenge the idea that only scientific cat- egories can ground the aesthetic appreciation of nature as nature, and they hold that there is not a correct way of appreciating nature. However, they may share with Carlson the idea of correctness under an objectivist paradigm of aesthetic (...) appreciation, according to which correctness means the adequation of the experi- ence to properties of the object. My aim in the article is to claim that it is necessary to endorse an aesthetic standard of correctness that takes into consideration the subjective character of aesthetic appreciation. An aesthetic standard of correct- ness implies universal assent, or validity for everyone in Kantian terms, in place of an objectivist notion. This notion of correctness permits the inclusion of expressive perception of nature as an essential form of aesthetic appreciation. (shrink)

From Kant’s point of view, the puzzle about judgments of taste is that they claim to normativity—in Kant’s terms, to intersubjective validity or communicability—but nevertheless have only a subjective basis or “determining ground (Bestimmungsgrund).” The task of §9 of the Critique of Judgment in particular is to delineate an account of aesthetic response that accommodates Kant’s solution to this puzzle. If the aesthetic pleasure “precedes” the judgment—in other words, if the judgment is about the pleasure—then the judgment (...) of taste would be merely private, like other judgments about things that cause us pleasure. So the judgment must precede the pleasure. But “nothing… can be universally communicated except cognition, and representation so far as it belongs to cognition. (V:217) Therefore, the determining ground of the judgment of taste must be “the mental state encountered in the relation of the mental powers of representation to each other insofar as they relate a given cognition to cognition in general.” (V:217) A bit later, he calls this state of mind a “feeling of the free play of the powers of representation in a given representation for a given representation for a cognition in general.” The appeal to ‘cognition in general’ can do what Kant needs it to do only if it conveys the normativity of cognition simpliciter but not its conceptual determinacy. I want to propose that we take ‘cognition in general’ to mean ‘integration into a unified system of empirical cognition.’ If I am successful, it will have the consequence that the basis for the normativity of taste— that is, the expectation that others ought to agree with our judgments-- is the same as the basis for the normativity of cognitive judgments. (shrink)

In this article, I will try to show that (1) one of the more compelling reasons for advocating for aesthetic normativity comes from an axiom that suppositionally underlies aesthetic educational endeavors and (2) by framing aesthetic judgments contextually and hypothetically we may be able to deal effectively with one of the more compelling reasons for antinormativity, namely the fact of irreconcilable differences between judgments of two equally competent judges. I will try to show that framing judgments (...) contextually is common practice in aesthetic education. (shrink)

Is it ever aesthetically permissible to engage in acts of cultural appropriation? This paper shows how recent work on aesthetic normativity can help answer this question. Drawing on the work of Lopes and McGonigal, I argue that in many cases those who engage in cultural appropriation act against their aesthetic reasons. Lopes and McGonigal advocate for externalist accounts of aesthetic reasons according to which whether or not an agent has an aesthetic reason to act depends (...) on whether or not their action will be an aesthetic achievement. Employing this framework, I argue that insofar as acts of cultural appropriation are seldom aesthetic achievements, many agents who engage in culturally appropriative aesthetic activities act against their aesthetic reasons. (shrink)

I begin by considering various leadership aetiologies, wherein someone comes to obtain the various rights and obligations associated with the status function of a leader. Searle imagines two possibilities. First, someone comes to be a leader by way of established (e.g. democratic) constitutive rules or procedures. Second, someone might simply be declared a leader if they already wield sufficient coercive, non-deontological power. The deontological power associated with the status function of a leader is different from the antecedently existing coercive power (...) in that the former works, not under the force of threat, but by way of the imposition of rights and obligations. I consider a third leadership aetiology based on charismatic power. The possibility of charismatic power, in turn, recommends a normative, aesthetic source that cannot be reduced to either deontological power or coercive power. I begin by looking, in Sections 1 and 2, at examples which gesture towards the plausibility of aesthetic norms as a constituent of some status functions. Using a largely Humean account of the aesthetic (Section 3) in Sections 4 and 5, I argue that aesthetic evaluations have the right formal properties to underlie a status function. In particular, they are suitably epistemically objective, and they can provide desire-independent reasons for action. Finally, in Section 6, I argue aesthetic norms that are necessarily unprincipled, decisively account for a class of status functions which resist articulation in terms of explicitly codified rights and obligations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics and Humean Aesthetic Norms in the Novels of Jane AustenEva M. Dadlez (bio)IntroductionThe eighteenth century, Paul Oskar Kristeller tells us, in addition to crystallizing what we now call the fine arts, is also marked by an increased lay interest both in the arts and in criticism.1 Amateurs as well as philosophers ventured critical commentary on the arts. Talk concerning taste or beauty or the sublime was so (...) much a part of general discourse that even novelists of that era incorporated such subjects in their work. Henry Fielding "was able to construct a novel on the true and false sublime in art," according to Samuel Monk, "and to draw an analogy between the sublime in art and the sublime in character."2 So we shouldn't find it surprising that perspectives on aesthetics are sometimes presented in the novels of Jane Austen.3 This subject matter ranges from descriptions of skill in the execution and sensitivity in the appreciation of particular arts to general observations about beauty and taste and what is requisite for the apprehension of the former and the possession of the latter.Consider the following catalog of arts and beauties. Mansfield Park, Sense and Sensibility, and Northanger Abbey contain many references to the beauties of nature, both cultivated and wild. Taste in music is a topic in Persuasion, Mansfield Park, Pride and Prejudice, and Lady Susan. A taste for poetry and literature is the lot of the heroines of Persuasion, Northanger Abbey, Mansfield Park, and Sense and Sensibility. Taste and talent for drawing is exhibited by characters in Sense and Sensibility, Emma, and Northanger Abbey. Both Sense and Sensibility and Mansfield Park contain discussions of the merits of effective reading, that is, reading well aloud. Mansfield Park even comments on [End Page 46] acting ability, albeit rather disapprovingly. More general reflections on taste and beauty, as well as their connection to morality, are equally typical.It is possible to venture several different arguments about the philosophical perspective into which such observations best fit. Kantian analyses have already been ventured in the literature. Anne Crippen Ruderman calls our attention to the Kantian flavor of the connection Austen draws between a sensitivity to natural beauty and one's moral disposition, for instance, and David Kaufman compares Austen to Kant, though primarily in regard to ethics.4 Nonetheless, in this article I will argue that the strongest correlations and correspondences are in fact between Austen's and Hume's positions on aesthetics. Evidence in support of a Kantian analysis will first be canvassed and later compared with claims in favor of a Humean alternative.I will establish that the positions on taste and beauty and delicacy that are explicitly stated in or can be inferred from Austen's novels fit a Humean model—and fit it with a fair degree of precision. In doing so, I hope to demonstrate a correspondence strong enough to serve as the staging area for the further speculations that constitute the second thesis of this article. A great deal has already been said by philosophers about the capacity of literature to elicit moral reactions from the reader. Fictions can present ethical endorsements and invite us to adopt ethical perspectives by making it true in the world of the work that some course of action is right or some character is laudable. They can do this not by telling us that an act is right or a person meritorious but by showing us the rightness of the action and the commendability of the individual—by asking us to imagine traits that call forth our own approval and commendation. I will contend that aesthetic norms can be treated in much the same way as moral norms. That is, I will claim that the fiction of Jane Austen, in addition to evidencing the conscription of a Humean aesthetic, so engages and educates us that we are led imaginatively to adopt certain aesthetic perspectives in the course of its contemplation: not just by being told what is aesthetically pleasing or commendable, but by being made to feel pleasure and to experience commendation; not just by being told what constitutes discriminating taste, but by being led... (shrink)

In the Origins of Kant’s Aesthetics, Robert Clewis characterises Kant’s early views of aesthetic normativity in terms of a synthesis of a rationalist appeal to laws of sensibility and an empiricist appeal to rules of taste that are arrived at through consensus about great works of art. On the consensus approach, sharing the experience of beauty with others is itself a source of pleasure and normativity. For Clewis, the mature Kant no longer ties aesthetic normativity (...) to sociality, but instead grounds it in the a priori principle of judgement. In these comments, I challenge Clewis’ narrative about Kant’s development and argue that the mature Kant continues to connect aesthetic normativity to the sociality of taste. (shrink)

While all agree that score compliance in performance is valuable, the source of this value is unclear. Questions about what authenticity requires crowd out questions about our reasons to be compliant in the first place, perhaps because they seem trivial or uninteresting. I argue that such reasons cannot be understood as ordinary aesthetic, instrumental, epistemic, or moral reasons. Instead, we treat considerations of score compliance as having a kind of final value, one which requires further explanation. Taking as a (...) model the Humean account of fidelity as an artificial virtue, I sketch a practice-theoretic account of the nature and source of such reasons, one on which we can say that they are, after all, aesthetic, but only indirectly so. (shrink)

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

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)

What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have (...) are explained by norms internal to a practice. Practice-internal norms, however, cannot settle the distinct question of which practices we have reason to opt into. When it comes to the source of aesthetic normativity—in virtue of what aesthetic value is genuinely reason-giving—I argue that existing accounts, which appeal to pleasure or achievement, are inadequate. The only practice-external aesthetic requirement is a generic one to opt into at least some aesthetic practices. (shrink)

One of the most discussed views in metaethics is Moral Internalism, according to which there is a conceptually necessary connection between moral judgments and motivation to act. Moral Internalism is regarded to yield the prime argument against Moral Cognitivism and for Moral Non-Cognitivism. In this paper, I investigate the significance of the corresponding claim in metaaesthetics. I pursue two lines of argument. First, I argue that Aesthetic Internalism – the view that there is a conceptually necessary connection between (...) class='Hi'>aesthetic value judgments and motivation to act – is mistaken. It follows, I maintain, that the most important argument against Aesthetic Cognitivism, and for Aesthetic Non-Cognitivism, is flawed, and that the latter view presumably is incorrect. Second, I argue that considerations with regard to Aesthetic Internalism give rise to two normative puzzles with relevance for the normative domain in general. The most plausible solution to these puzzles entails, I maintain, that we need to revise the established view about normative judgments. Moreover, I propose a novel externalist account of aesthetic value judgments. (shrink)

ABSTRACT The paper proposes that the distinctive features of aesthetic assertion are due to a special norm governing such assertion rather than any semantic features of aesthetic predication. The norm is elaborated as a reading of Kant’s analysis of aesthetic judgment. Apart from the proposed norm capturing various features of aesthetic assertion, it is supported by various linguistic considerations that point to the semantic profile of predicates of personal taste and aesthetic predicates being in fact (...) alike with respect to the role of a judge or experiencer in the interpretation of the respective kinds of assertions. The difference between the two, therefore, must have a different source than the understood role of an agent, viz. the advertised norm. In particular, it is argued that the role of an explicit agent in both predicates acts to signal a presupposition of another agent having a different experience or judgment from the speaker rather than an articulation of the content of the predicate itself or a determination of its truth value. (shrink)

This article explores the role of habits in shapingaesthetic normativity. It asserts that standards of value within aesthetic agency are not immutable, objective criteriadetached from personal engagement in appreciationand creation, nor should they be reduced to mere individualsubjective pleasure. The former stance fails to consider theessential expressivity and creativity at the heart of aestheticpractices, while the latter overlooks the normative frameworkthat underpins the significance, validity, and qualityof aesthetic agency. This framework is represented in theestablished rules of taste, (...) the need for aesthetic education,and the dynamics of aesthetic disagreements. Consequently, effective aesthetic normativity requires abalance: practices must be organized structurally aroundvalues that are, to a certain degree, communally shared, yetflexible enough to incorporate the expressive creativity ofindividual appreciation. This article contributes a nuancedexplanation of aesthetic normativity by elucidating the impactof habits on aesthetic practices. (shrink)

Unusability pessimism has recently emerged as an appealing new option for pessimists about aesthetic testimony—those who deny the legitimacy of forming aesthetic beliefs on the basis of testimony. Unusability pessimists argue that we should reject the traditional pessimistic stance that knowledge of aesthetic matters is unavailable via testimony in favour of the view that while such knowledge is available to us, it is unusable. This unusability stems from the fact that accepting such testimony would violate an important (...) non-epistemic norm of belief formation. In this article I present an objection to unusability pessimism and argue that Robert Hopkins, the view's most prominent defender, fails to motivate adequately the claim that there are such non-epistemic belief norms. The cases which putatively legitimize usability norms can be explained by appeal to more familiar norm types: epistemic norms of belief formation, and non-epistemic norms which govern action other than belief formation. The intent of this article is not primarily negative, however, and I will also argue that understanding why the unusability position fails helps us to identify a promising new direction for the pessimist's opponents who wish to defend the legitimacy of forming aesthetic beliefs on the basis of testimony. (shrink)

It is well known that we owe the term ‘aesthetics’ in its philosophical sense to the 18th century German philosopher Alexander Baumgarten. The eighteenth century's interest in aesthetics, however, pre-dated the invention of the term. In 1725, Francis Hutcheson published an Inquiry into the Original of Our Idea of Beauty and Virtue. This may be said to be the first sustained and significant work in philosophical aesthetics as we now know it. Hutcheson's volume preceded Baumgarten's by 10 years, and within (...) Scotland it inaugurated a series of philosophical writings on taste and beauty that continued for almost a century. Contributors included major philosophical figures like David Hume, Thomas Reid and Adam Smith, as well as influential figures less well known today such as Alexander Gerard, George Turnbull and Lord Kames. (shrink)

Is there tension in a view of the conditions of being in a proper position to make aesthetic evaluations that is committed to aesthetic autonomy and norms of exposure? I define ‘aesthetic autonomy’ in terms of the Kantian idea that in order to make a proper aesthetic evaluation, one must rely on oneself rather than on any outside source. I define ‘norms of exposure’ in terms of the Humean idea that practice and aesthetic education are (...) conditions of proper aesthetic evaluation. Prima facie, these two commitments point toward competing accounts of whether exposure is a condition of being in a position to make proper aesthetic evaluations. However, I argue that a closer look at the Kantian position reveals that aesthetic exposure is a condition of being able to make aesthetic evaluations in an autonomous way in the Kantian framework. (shrink)

I draw a connection between the question, raised by Hume and Kant, of how aesthetic judgments can claim universal agreement, and the question, raised in recent discussions of nonconceptual content, of how concepts can be acquired on the basis of experience. Developing an idea suggested by Kant's linkage of aesthetic judgment with the capacity for empirical conceptualization, I propose that both questions can be resolved by appealing to the idea of "perceptual normativity". Perceptual experience, on this proposal, (...) involves the awareness of its own appropriateness with respect to the object perceived, where this appropriateness is more primitive than truth or veridicality. This means that a subject can take herself to be perceiving an object as she (and anyone else) ought to perceive it, without first recognizing the object as falling under a corresponding concept. I motivate the proposal through a criticism of Peacocke's account of concept-acquisition, which, I argue, rests on a confusion between the notion of a way something is perceived, and that of a way it is perceived as being. Whereas Peacocke's account of concept-acquisition depends on an illicit slide between these two notions, the notion of perceptual normativity allows a legitimate transition between them: if someone's perceiving something a certain way involves her taking it that she ought to perceive it that way, then she perceives the thing as being a certain way, so that the corresponding concept is available to her in perceptual experience. (shrink)

Proceeding on the basis of reports of a proposal in 2011 to criminalize public flatulence in Malawi, the normative significance of flatulence is considered from the respective standpoints of aesthetics, etiquette, and ethics, and it is indicated how aesthetics and etiquette may themselves also have ethical significance. It is concluded that etiquette and ethics may both require that certain violations of etiquette and ethics should sometimes be ignored.

Why is it that we cannot legitimately make certain aesthetic assertions – for instance that ‘Guernica is harrowing’ or that ‘The Rite of Spring is strangely beautiful’ – on the basis of testimony alone? In this paper I consider a species of argument intended to demonstrate that the best explanation for the impermissibility of such assertions is that a particular view of the norms of aesthetic belief – pessimism concerning aesthetic testimony – is correct. I begin by (...) outlining the strongest instance of such ‘arguments from assertion’ and demonstrating that it presents a powerful motivation for embracing pessimism; the view that it is illegitimate to form aesthetic beliefs on the basis of testimony alone. I then go on to argue that, appearances notwithstanding, the pessimist’s opponents – optimists concerning aesthetic testimony – are able to provide an explanation for the impermissibility of these assertions which is at least as good as, and in some respects better than, that offered by their pessimist. The explanation I propose draws on some important work on signalling in aesthetics, by Denis Dutton and others, to argue that the problem with such assertions is closely parallel to the problem Dutton claims is generated by forgeries. Those making such assertions misrepresent a piece of aesthetic labour as their own, when, in fact, it is the work of another. I also explore the wider implications of this view for debates in aesthetic epistemology and beyond. (shrink)

Being for Beauty has two ambitions. It makes a case that the network theory of aesthetic value has enough going for it to be taken seriously in philosophical aesthetics, and in work on practical values and reasons more generally. In addition, by illustrating how much room we have to maneuver outside the bounds of aesthetic hedonism, the book invites work on alternative approaches. James Shelley, Julia Driver, and Samantha Matherne take up the invitation with such aplomb that one (...) might declare success on the second ambition and merely comment on how their proposals might be further developed. Nevertheless, since its explanatory power is precisely what gives us room to maneuver, what follows also sticks up for the network theory. (shrink)

For Kant, the form of a subject's experience of an object provides the normative basis for an aesthetic judgement about it. In other words, if the subject's experience of an object has certain structural properties, then Kant thinks she can legitimately judge that the object is beautiful - and that it is beautiful for everyone. My goal in this paper is to provide a new account of how this 'subjective universalism' is supposed to work. In doing so, I appeal (...) to Kant's notions of an aesthetic idea and an aesthetic attribute, and the connection that Kant makes between an object's expression of rational and the normativity of aesthetic judgements about it. -/- . (shrink)

Two perennial questions in aesthetics, among others, are the demarcation question, viz., what, if anything, distinguishes the aesthetic domain from the cognitive or moral domains, and the normative question, viz., what kind of normativity, if any, does the aesthetic domain involve. Although recent attempts to answer these questions can be found in contemporary literature, in this paper I examine the answers defended by the early phenomenologist Edith Landmann-Kalischer. I show that Landmann-Kalischer answers the demarcation question by blending (...) together a cognitivist account of aesthetic judgment with an objectivist account of beauty, and that she builds an account of aesthetic normativity on this cognitivist and objectivist basis. I contend that her subtle and unified account of aesthetic demarcation and normativity has advantages over other competing hedonist and Kantian views and, as such, merits further consideration in contemporary debates. (shrink)

One influential tradition holds that blame is a moral attitude: blame is appropriate only when the target of blame has violated a moral norm without excuse or justification. Against this, some have recently argued that agents can be blameworthy for their violation of epistemic norms even when no moral norms are thereby violated. This paper defends the appropriateness of aesthetic blame: agents can be blameworthy for their violation of aesthetic norms as such, where aesthetic norms are the (...) norms of social practices that aim at aesthetic values. I adapt a generic account of blame as protest, which can take variable forms, and then argue that aesthetic distortion cases—cases in which an existing artwork is distorted in its presentation—most clearly warrant blame even in the absence of violations of moral norms. (shrink)

Moral properties such as being wrong or being obligatory are not brute but based on other kinds of properties, such as being a lie or being promised. Aesthetic properties such as being graceful or being beautiful are similar to moral properties in being based on other kinds of properties, but in the aesthetic cases it may be impossible to specify just what these grounding properties are. Does any single property ground poetic beauty in the way promising grounds obligation (...) to do the promised deed? If aesthetic properties do differ from moral properties in this way, may we conclude that, although ethics is like aesthetics in being a realm of intuitive and perceptual knowledge—or at least intuitive and perceptual sensitivity—it is unlike aesthetics because the latter lacks principles that connect grounding properties with aesthetic properties? Are there any such generalities in aesthetics, or even aesthetic generalities connecting aesthetic properties with other aesthetic properties? If there are, how much like or unlike rules and principles in ethics are they? This paper explores all these questions in the light of examples from the arts, with poetry as the main case study. (shrink)

This introduction presents an overview of the special issue of Con-Textos Kantianos devoted to Kant’s aesthetic theory. The articles in this issue have been organized into two sections: those written by keynote-authors, and those written in response to the general call for papers. Within each of these two sections, articles have been organized thematically, although the philosophical traditions that they engage with, as well as points of contact between articles, have also been considered. In the first section, keynote-authors address (...) questions of aesthetic normativity; the role of aesthetics in the acquisition of empirical concepts; the emotional nature of aesthetics; subjectivity and disinterestedness; connections between aesthetics, anthropology, and politics; and aesthetic non-conceptualism. The second section begins with contributions dealing with matters of formalism and conceptualism in Kant’s aesthetics, as well as their relation and relevance to thinking about art, the arts, and contemporary art. It continues with papers that address key issues of Kant’s aesthetics, such as the free play and the role of imagination, as well as possible complementarities between the three Critiques. It closes with articles that focus on the reception of Kant’s aesthetic theory in the works of major philosophers of the 20 th century, namely within critical theory and the phenomenological-hermeneutical tradition. (shrink)

Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp (...) on the nature of aesthetic normativity; this is because, in making aesthetic commitments, we are capable of giving aesthetic concerns the weight of obligation. I argue that appealing to aesthetic commitments allows us to account for the existence of aesthetic obligations as well as their grounding. I conclude by arguing that, although the aesthetic domain is a domain of play and freedom of choice, there is nevertheless an important place in it for both aesthetic commitments and the aesthetic obligations they generate. (shrink)

Enactivist approaches claim that cognition arises through a dynamic interaction between an acting organism and its environment. An ongoing challenge for these approaches is the problem of accounting for normativity while avoiding overly reductionist outcomes. This article examines a few proposed solutions, including agent-environment dynamics, participatory sense-making, radical enactivism, the skillful intentionality framework, and enactivist cultural psychology. It argues that good examples of enacted normativity are gestures of appreciation/disapproval performed in the aesthetic domain. Both Wittgenstein and Dewey (...) explore this issue and their ideas could be productively worked upon in an enactive account. (shrink)

Charles S. Peirce Society 2016 Presidential Address Peirce never could finalize a book or publish it and especially no book on the aesthetic basis of pragmaticism. This is not only a historical note, but has a deeper meaning. It arouses in the attentive reader a strong desire to do what Peirce himself did not have the chance to do: to find a way of linking together his hints and clues in such a way that respects the spirit of his (...) work and not just its letter. This practice of apprehending the spirit is successful, I believe, when, on the one hand, we familiarize ourselves with the author’s text and, on the other, perhaps more importantly, when we initiate this apprehension because the text arouses a feeling of... (shrink)

In this paper I identify a new group of aesthetic norms, which I call norms of cultivation. Judgments of taste are often accompanied by forecasts or expectations about future aesthetic satisfaction. When we find something beautiful, we expect to find it beautiful in the future. Forecasting is at play in all sorts of aesthetically motivated behavior. Yet psychologists have observed an unreliability in such forecasts. As a result of forecasting error, what we take as our taste can be (...) an unreliable guide in our aesthetic lives. Compensating for the unreliability of taste are norms of cultivation, implicit rules for engaging objects, such as avoiding overexposure to favored objects or exposure under unfavorable conditions. Norms of cultivation help to regularize aesthetic experience, mitigating unreliability in forecasts, and fostering the ongoing stability and coherence of taste. (shrink)

According to what Robert Stecker dubs the “ethical-aesthetic interaction” thesis, the ethical defects of a literary work can diminish its aesthetic value. Both the thesis and the only prominent argumentative strategy employed to support it the affective response argument have been hotly debated; however, Stecker has recently argued that the failure of the ARA does not undermine the thesis, since the argument “fails to indentify the main reason [the thesis] holds, when it in fact does.” I critically examine (...) Stecker’s objection to the familiar versions of the affective response argument and the line of support for ethical-aesthetic interaction he proposes to install in their place. I conclude that neither is compelling; however, an important insight can be salvaged from his positive proposal, and I argue that the insight does, in fact, point toward a novel defense of the thesis. (shrink)

Empirical findings may be relevant for aesthetic evaluation in at least two ways. First — within criticism — they may help us to identify the aesthetic value of objects. Second— whithin philosophy — they may help us to decide which theory of aesthetic value and evaluation to prefer. In this paper, I address both kinds of relevance. My focus is thereby on empirical evidence gathered, not by means of first-personal experiences, but by means of third-personal scientific investigations (...) of individual artworks or, more generally, our interaction with art. The main thesis to be defended is that third-personal empirical findings are of limited significance for both critical and philosophical aesthetics. Indeed, they matter only to the extent to which they draw our attention to features or facts that we then iden- tify, from our first-personal perspective, as aesthetically relevant — for instance, as reasons counting for or against certain ascriptions of aesthetic value, or as factors that causally influence our actual as- sessments and thus render them partly inadequate or irrational. This limited significance of empirical findings is in line with the rationalist approach to the formation and justification of aesthetic judgements, that I have already started to defend elsewhere. -/- With respect to critical aesthetics, one problem is that empirical investigations cannot capture the normativity of the aesthetic relevance of lower-level features or facts: the respective studies can tell us what we take to be reason-giving or valuable, but not what is reason-giving or valuable. Furthermore, we cannot use empirically knowable principles to infer the presence of aesthetic values or reasons on the basis of recognising measurable lower-level features because the only available principles are too specific to allow for their actual application to more than one existing object, or even for their actual formulation. For their antecedents make reference to a large number of very determinate properties, as well as sometimes to particular events of creation. The only exception are conceptual principles (such as ‘something symmetrical is balanced’) or default principles (such as ‘something elegant is, by default, beautiful’). But knowledge of these principles is of little inferential use due to the holistic character of the justificatory power of aesthetic reasons and, moreover, does not allow for empirical acquisition. -/- With respect to philosophical aesthetics, I start with considering the limits of evolutionary accounts of aesthetic value. Even if it is true that humans originally came to value artworks because they recognised that artworks reveal certain skills or features of artists (such as imaginativeness or resourcefulness) that are desirable in sexual partners, it does not value that our reasons for valuing art have not changed, or at least not become much more complex. In addition, the answer to the question of why we value art from an evolutionary perspective has no obvious bearing on the issue of how we should appreciate art from an aesthetic perspective, or what such aesthetic appreciation would consist in. On the other hand, experimental studies showing that our actual aesthetic evaluations are influenced by factors (such as exposure e ects, or knowledge of the prices of objects), that undermine the good standing of our responses, just reveal that it is more difficult than perhaps expected to form sound aesthetic judgements; and that we need to improve our future aesthetic judgements by diminishing as much as possible the impact of those factors. (shrink)

The body is a rich object for aesthetic inquiry. We aesthetically assess both our own bodies and those of others, and our felt bodily experiences have aesthetic qualities. The body features centrally in aesthetic experiences of visual art, theatre, dance and sports. It is also deeply intertwined with one's identity and sense of self. Artistic and media representations shape how we see and engage with bodies, with consequences both personal and political. This volume contains sixteen original essays (...) by contributors in philosophy, sociology, dance, disability theory, critical race studies, feminist theory, medicine, and law. They explore bodily beauty, sexual attractiveness, the role of images in power relations, the distinct aesthetics of disabled bodies, the construction of national identity, the creation of compassion through bodily presence, the role of bodily style in moral comportment, and the somatic aesthetics of racialized police violence. -/- Contents: Maria del Guadalupe Davidson, "Black Silhouettes on White Walls: Kara Walker’s Magic Lantern"; A. W. Eaton, "Taste in Bodies and Fat Oppression"; C. Winter Han, "From 'Little Brown Brothers' to 'Queer Asian Wives': Constructing the Asian Male Body"; Deborah L. Rhode, "Appearance as a Feminist Issue"; Shirley Anne Tate, "A Tale of Two Olympians—Beauty, 'Race,' Nation"; Glenn Parsons, "The Merrickites"; Stephen Davies, "And Everything Nice"; Tobin Siebers, "In/Visible: Disability on the Stage"; Jill Sigman, "Live, Body-Based Performance: An Account from the Field"; Barbara Gail Montero, "Aesthetic Effortlessness"; Peg Brand Weiser and Edward B. Weiser, "Misleading Aesthetic Norms of Beauty: Perceptual Sexism in Elite Women's Sports"; Yuriko Saito, "Body Aesthetics and the Cultivation of Moral Virtues"; George Yancy, "White Embodied Gazing, the Black Body as Disgust, and the Aesthetics of Un-Suturing"; Richard Shusterman, "Somaesthetics and the Fine Art of Eating"; Ann J. Cahill, "Sexual Desire, Inequality, and the Possibility of Transformation"; Sheila Lintott and Sherri Irvin, "Sex Objects and Sexy Subjects: A Feminist Reclamation of Sexiness" -/- . (shrink)

The aesthetic domain is a social one. We coordinate our individual acts of creation, appreciation, and performance with those of others in the context of social aesthetic practices. More strongly, many of the richest goods of our aesthetic lives are constitutively social; their value lies in the fact that individuals are engaged in joint aesthetic agency, participating in cooperative and collaborative project that outstrips what can be realized alone. I provide an account of nature and value (...) of two such social aesthetic goods—aesthetic communities and aesthetic traditions—and further argue that such goods are a core constituent of an aesthetically good life. At the same time, I argue that the ideals of the dominant theory of aesthetic value, aesthetic value hedonism, are incompatible with a full commitment to these social aesthetic goods; the hedonist is thereby alienated from the other participants within aesthetic communities and traditions. This sets up a dilemma for the hedonist: either the hedonist must bite the bullet, accepting that the theory leads to a problematic form of aesthetic alienation; or, we must reject aesthetic value hedonism and adopt a different theory of aesthetic value which accommodates the value of social aesthetic goods. I argue that we should take the second horn of the dilemma. (shrink)

In this paper we sketch a new version of aesthetic expressivism. We argue that one advantage of this view is that it explains various putative norms on the formation and revision of aesthetic judgement. We begin by setting out our proposed explananda and a sense in which they can be understood as governing the correct response to putative higher-order evidence in aesthetics. We then summarise some existing discussions of expressivist attempts to explain these norms, and objections raised to (...) them. This will allow us to identify the pitfalls that a good expressivist explanation needs to avoid. Finally, we sketch our preferred version of aesthetic expressivism which includes as a crucial part a hypothesis concerning the distinctive expressive function of aesthetic practice. We then consider how this theory can explain the putative aesthetic norms whilst avoiding the previous objections. (shrink)

This article supports H. L. A. Hart's “any reasons” thesis (defended consistently from the first edition of The Concept of Law in 1961 to the Postscript to the second edition of 1994) that legal officials may accept law for any reasons, including non‐moral reasons. I develop a conception of non‐moral aesthetic ideals of official conduct which may provide legal officials with reasons to accept and apply even morally iniquitous law. I use this conception in order to rebut Gerald Postema's (...) and Joseph Raz's criticisms of Hart's view, and suggest that my revisions offer reasons for renewed confidence in Hart's account of law's normativity. (shrink)

My primary aim in this paper is to outline a quasi-realist theory of aesthetic judgement. Robert Hopkins has recently argued against the plausibility of this project because he claims that quasi-realism cannot explain a central component of any expressivist understanding of aesthetic judgements, namely their supposed ‘autonomy’. I argue against Hopkins’s claims by contending that Roger Scruton’s aesthetic attitude theory, centred on his account of the imagination, provides us with the means to develop a plausible quasi-realist account (...) of aesthetic judgement. Finally, I respond to two recent attempts to discredit the validity of the notion of aesthetic autonomy. I claim that both fail adequately to address the underlying non-realist motivations and justifications for maintaining the principle. (shrink)