Aesthetic Normativity

Cova et al. (2019) have tested people's beliefs on aesthetic disagreements using experimental studies based on questionnaires. Since the vast majority of participants chose answers that are incompatible with intersubjectivism, they conclude that the traditional approach in aesthetics is ”fundamentally misguided”. Contesi et al. (2024) claim that Cova et al. entirely misunderstand the relevance of their experimental findings to the aesthetics literature: those results actually ”confirm what aestheticians predicted all along”. According to Contesi et al., while aestheticians generally assume “that (...) people explicitly endorse the claim of subjectivism”, folk intersubjectivism ”is mainly seen as remaining implicit in patterns of behaviour”; its presence, therefore, cannot be inferred from people's ”explicit avowals”. Contesi et al. support their understanding of the literature by citing passages from contemporary philosophers. I argue that these passages fail to demonstrate that folk aesthetic intersubjectivism is regarded as implicit. (shrink)

This paper addresses a question that has sparked heated debate while mostly flying under the philosophical radar: Should people stop wearing merch of bands they don’t listen to? I respond affirmatively. People should stop wearing merch of bands they don’t listen to because (i) doing so can silence people who wear band merch to communicate their taste in music and (ii) this silencing threatens the valuable role that wearing band merch plays in the aesthetic lives of people who share a (...) taste in music: promoting aesthetic community between them. As will emerge throughout the paper, this argument is relevant to the debate on silencing as well as the debate on the value of aesthetic community. (shrink)

Aesthetic communities offer us opportunities for collective, communal, and value-disclosing shared aesthetic experiences. This paper develops an account of shared aesthetic experiences and provides an answer to the question of their significance: when they occur within aesthetic communities, their distinctive phenomenology is a powerful resource for creating a sense that our lives are aesthetically meaningful.

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

What is unique about art genres? In this paper, I will show that genres are best understood as clusters of regulative rules for appreciation. Evaluation, interpretation, and other appreciative responses to a work of art are sensitive to how the work is categorised, and genres are the categories that play a normative role in this context. Genres as rules have social foundations and arise from a speech act that I distinguish from classification and call framing. Based on this account, I (...) will illustrate genre practices as social practices in which we declare and propose rules of appreciation to each other. (shrink)

Are beautiful things beautiful because they are valuable, or valuable because they are beautiful? Most theories of aesthetic value assume the former. I argue for the latter. This implies that no theory of aesthetic value can explain what makes aesthetically valuable things aesthetically valuable; instead, it can only tell us which value is the aesthetic one. I propose a theory that does.

Traditional aesthetic theories emphasize pleasure, while recent non-hedonistic approaches prioritize “getting it right” in aesthetic engagement. This paper critiques Dominic McIver Lopes’s and C. Thi Nguyen’s theories by arguing that correctness is neither the necessary guiding norm nor the constitutive or right motivator. Instead, I propose bias reduction—minimizing the improper influence of prior outlooks. This shift from correctness to minimizing distortion better captures aesthetic agency and allows for pluralism and radical disagreement.

In a letter to Czerny about teaching his nephew to play the fortepiano, Beethoven indicates that mistakes on notes are ‘minor mistakes.’ At the same time, problems like ignoring dynamic marks are ‘much more serious’ (Gerig 2007: 95). What could ground his insistence on following the dynamic marks on the score? The normativity of the score-following rule as an aesthetic rule is at stake here. In this paper, I raise concerns about the Practice-Based view, which, as I shall argue, grounds (...) the score-following rule in the same way as the rules of chess are grounded. As an alternative approach, I propose that the Genuine Performing Experience grounds the normativity of the score-following rule. My proposal not only offers a novel explanation of the normativity of the rule but also explains the meaningfulness of score compliance in classical music performance by highlighting its unique significance among other human practices. (shrink)

In Essays on Beauty & the Arts (2023) (‘Essays’), Dominic McIver Lopes has unearthed something of a champion for his ongoing mission to rejuvenate analytic aesthetics. ‘The history of analytic aesthetics’, Lopes declares, ‘is dominated by writing on Kant and, to a lesser extent, David Hume. … We badly need to excavate alternatives to the tradition of Hume and Kant’ (p. xvi). As tall of an order this already is, the height of Lopes’s hopes for Bolzano appears to reach further (...) still—‘Perhaps Bolzano can do for aesthetics what Mill and Kant do for ethics’ (p. xxv). While the jury is still out on whether Bolzano can fill those shoes, what is clear is that Lopes succeeds at making a tantalizing case on Bolzano’s behalf. (shrink)

I reconstruct 20th-century Mexican philosopher José Vasconcelos’s answers to two important aesthetic-political questions: (1) Can aesthetic judgments bind community? and (2) Can aesthetic judgments drive political, social, and cultural change? My objectives are twofold: one, to show that Vasconcelos’s responses make original contributions to an important aesthetic-political tradition that begins with Kant, and two, to offer key ideas from Vasconcelos’s aesthetics to a wider audience, as an invitation to engage with his work in their research and teaching. In section I, (...) I argue that Kant’s remarks suggest that aesthetic judgments bind the community. In section II, I explain that Kant sometimes appears to suggest that aesthetic judgments promote political, social, and cultural change. Section III discusses two bridge figures—Schiller and Arendt—that help us better understand how Kantian aesthetics binds community and serves political purposes. In section IV, I argue that Vasconcelos aligns with the Kantian tradition exemplified by Schiller and Arendt when developing a plan for aesthetically-guided social and political progress. I also show that, during his time in various positions of power in the Mexican government, Vasconcelos brought ideas from the Kantian tradition to life. I conclude by reflecting on how Vasconcelos reveals new possibilities for the Kantian tradition. (shrink)

In this paper I hope to show how buck-passing theories of ethics can be applied to aesthetics in the hopes of reunifying aesthetics and ethics, and for reviving medieval and classical theories of beauty. To do so, I will briefly survey the buck-passing metaethical account (as developed by Scanlon and Parfit), show how it might be used to construct a general definition of beauty, and illustrate how this definition (and its implications) capture the core elements of Aquinas and Augustine’s conceptions (...) of beauty. The overall goal of the paper is that the “reasons” language buck-passing accounts employ to refer to fundamental ethical truths provides, at the very least, a neat and coherent way for discussing the normativity of aesthetic value. (shrink)

While non-moral varieties of goodness (e.g., aesthetic, epistemic, prudential) are readily recognized by philosophers and non-philosophers alike, the philosophical literature generally suggests that benevolence is a uniquely moral phenomenon. I argue, however, that our interpersonal practices display a range of instances of aesthetic benevolence, and that this observation stands to enrich our understanding of the relation between moral psychology, aesthetic experience, and aesthetic community. I illustrate this point via discussion of the evaluative attitude that is the fitting response to being (...) the target of another’s manifestation of aesthetic benevolence, namely aesthetic gratitude. (shrink)

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)

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)

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)

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)

The concept of autonomy is central to many debates in aesthetics. However, exactly what it means to be autonomous in our aesthetic engagements is somewhat unclear in the philosophical literature. The normative significance of autonomy is also unclear and hotly debated. In this essay, I propose a method for clarifying this elusive concept by distinguishing three distinct senses or varieties of aesthetic autonomy: experiential autonomy, competence-based autonomy, and personal autonomy. On this taxonomy autonomy is a context-sensitive concept and autonomy applies (...) to several different moments or stages of aesthetic appreciation. Throughout this critical discussion, important issues concerning the nature of aesthetic appreciation are also explored. (shrink)

Cet article part d’un constat retenu par un certain art « politique » : la nécessité de visibiliser les corps minorisés. On y interroge le mot d’ordre suivant, celui d’après lequel l’enjeu principal d’une esthétique de l’émancipation est la représentation. Plus largement, il s’agira de voir comment les discours de libération en art s’empèsent de contraintes rigoristes à l’opposé de l’agenda politique qu’ils annoncent. Méthodologiquement, il est fait recours à une symptomatologie nietzschéenne du langage : une étude des énoncés qui (...) cherche à faire remonter à la surface un système de morale grégaire dont ces énoncés sont solidaires. (shrink)

Why is destroying heritage pro tanto wrong? Why does heritage destruction require justification, unlike the destruction of rubbish? The property rights view answers: heritage belongs to people, communities and cultures. The reverence view answers: we are obliged to respect things with non-instrumental value. The moral rights view answers: our predecessors, contemporaries and successors have rights to have their cherishings respected and cultural and epistemic goods protected. The moral harm view answers: destroying heritage causes morally significant harm. I argue that these (...) views all fail to account for the basic obligation to not destroy heritage. I propose that heritage essentially gives us experiences of connections to historically significant things, and these experiences are aesthetically valuable and irreplaceable. Destroying heritage is pro tanto wrong because it leads to the premature and irreversible extinction of these precious and vulnerable experiences. My account makes sense of genuineness as an aesthetic property, vindicates the idea of purely aesthetic obligations, and entails that heritage can be of the present and future, not only the past. (shrink)

This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...) has rarely examined in depth the ontological structure of art categories, how they are generated and maintained, and how they function. This dissertation fills this gap. The proposal of this dissertation can be summarized as follows. Categories (especially genres) should be analyzed as clusters of rules that regulate the responses and behaviors of agents in the artworld. The visual mundaneness is a critical reason to consider Duchamp's "Comb" (1916) provocative, given the existence of the readymade as a set of rules that justifies such reasoning. The critical and appreciative practice of which categorization is a part is a social practice of making, declaring, proposing, reforming, and developing rules of appreciation. How we appreciate artworks, and how criticism guides our appreciation, is sensitive to how we categorize artworks. How we categorize artworks is sensitive to what categories have been set up in our community and which categories are active regarding each artwork. (shrink)

According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never compel us. In this paper, I develop a Kantian account of the normative force of aesthetic reasons. While Kant would likely agree that aesthetic reasons do not give rise to obligations, his account nevertheless gives us the resources for explaining how aesthetic reasons can still have more force than merely enticing reasons. This account appeals to the distinct normativity of aesthetic judgments on Kant's theory (...) and the way in which this kind of normativity structures aesthetic exchanges with other judging subjects. I argue that, in addition to the moral reasons we have for appreciating and preserving beauty, Kant’s account can accommodate distinctly aesthetic reasons for doing so that stem from our membership in aesthetic communities. (shrink)

Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me to simply believe or assert that The Velvet Underground's debut album The Velvet Underground and Nico (1964) is amazing solely because you have told me so, even though I know you to be an honest and competent music critic. But why? After all, there do not seem to be similar reservations regarding testimony from many other domains. In this paper, I will argue that relying on aesthetic testimony (...) seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (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)

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

I propose a construal of aesthetic value that gives us reason to emphasize some aesthetic practices over others. This construal rests on the existence of a central aesthetic value, namely apprehension-testing intricacy within an appropriate domain. I address three objections: the objection that asks how an aesthetic value based on intricacy can account for the value of minimalism; the objection that asks about the difference between intricacy within a medium and intricacy between media; and the objection that asks about the (...) danger of a regress. I then say that, although this central aesthetic value can in principle allow us to adjudicate between aesthetic practices, we have epistemic limits (about the potential of certain artistic domains to allow for apprehension-testing intricacy) that prevent adjudication in some cases. Even if there is a difference between the vastness of the potential-intricacy-fields somewhere down the line, it is too far for us to see. (shrink)

It is not uncommon for art historians and philosophers of art to deride the kinds of aesthetic experiences tourists seek out by characterizing them as bowing to the will of the herd, succumbing to peer pressure, or simply seeking out what is popular. Two charges, in particular, tend to be levelled against tourists. The first, which I call the motivation problem, contends that tourists are motivated to seek out aesthetic experiences for the wrong kinds of reasons. The second, which I (...) call the appreciation problem, maintains that tourist tastes are aesthetically uninformed and are thus the inauthentic product of aesthetic luck. But there is a better way of thinking about aesthetic tourism, one that can capture both the tourist’s motivations and the role of aesthetic luck. I argue that aesthetic tourists, like many experts, subscribe to the acquaintance principle, and that doing so generates aesthetic obligations to their practical identity. The tourist, in the end, is no more – and no less – a product of aesthetic luck than the expert connoisseur. (shrink)

Some standards, such as moral and prudential standards, provide genuinely or authoritatively normative reasons for action. Other standards, such as the norms of masculinity and the mafia’s code of omerta, provide reasons but do not provide genuinely normative reasons for action. This paper first explains that there is a similar distinction amongst attitudinal standards: some attitudes (belief, desire) have standards that seem to give rise to genuine normativity; others (boredom, envy) do not. This paper gives a value-based account of which (...) attitudinal standards give rise to genuine normativity. It argues that this account has interesting implications before extending it to provide an account of which action-guiding standards are genuinely normative. It argues that this value-based account of which standards are genuinely normative is more plausible than alternatives suggested in the literature and has interesting implications for genuine normativity in law and aesthetics. (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)

In this essay, I argue that Valéry's poetic reflections offer valuable insights on the ancient (Aristotelian) ideal of beauty as perfection, which he rehabilitates and updates. I also show that these clarifications provide solutions to enduring aesthetic problems. To do this, I start from the modal vocabulary (necessary, possible, arbitrary) Valéry uses each time he wants to describe the relationship of an author to his composition. He therefore seems to have been deeply fascinated by the tension between the fact that (...) a creator is always free to compose what he wants, and the fact that the same creator wants his work or parts of it to be imposed on him, while he is in the midst of his creative process. Here comes into play the ideal in question, since the perfection of a work implies, among other things, that one cannot want to modify this work for the better (being already perfect). After a detour aiming to introduce the importance of the rules of composition and to refute the idea that this ideal would no longer have any relevance in a modern artistic perspective, I detail what could be called the "aesthetic holism" of Valéry, which retains from a work only its formal dimension, considered in an original way as a formal whole composed of other formal parts. It is therefore above all a form that must be perfected, against possible relative deprivations (lacks or defects). Then, I link (with the help of Wittgenstein) the modal vocabulary to this notion of form which, by posing compositional challenges, turns out to be essential to the understanding of beauty as perfection. -/- Dans cet essai, je soutiens que les réflexions poétiques de Valéry offrent des éclaircissements particulièrement précieux sur l’idéal ancien (Aristotélicien) de beauté comme perfection, qu’il réhabilite et réactualise. Je défends également l’idée que ces éclaircissements peuvent nous mettre sur la voie de solutions à des problèmes endurants de l’esthétique. Pour ce faire, je pars de l’usage remarquable que Valéry fait d’un vocabulaire modal (nécessaire, possible, arbitraire) chaque fois qu’il veut décrire de quelle manière un auteur se rapporte à sa composition. Il apparaît ainsi que ce qui a profondément fasciné Valéry, c’est le dilemme ou la tension selon laquelle tout en étant libre de composer comme il l’entend (en laissant libre cours à sa fantaisie), un créateur aspire néanmoins à ce que son œuvre ou les parties de cette dernière s’imposent à lui, pendant qu’il crée. Ici entre en jeu l’idéal en question, car la perfection d’une œuvre implique entre autre chose que nous ne puissions vouloir modifier cette œuvre pour le mieux (celle-ci étant justement déjà parfaite). Après un détour visant à introduire l’importance des règles de composition et à réfuter l’idée que cet idéal n’aurait plus de pertinence dans une perspective artistique moderne, je détaille ce que l’on pourrait appeler le « holisme esthétique » de Valéry, qui ne retient de la composition d’une œuvre que sa dimension formelle, envisagée de manière originale comme une totalité faite d’autres parties formelles. C’est donc avant toute chose une forme qu’il faut parfaire, contre d’éventuelles privations relatives (manques ou défauts). Il s’agit alors de connecter (à l’aide de Wittgenstein) ce vocabulaire modale à cette notion de forme qui, en posant des enjeux de composition, se révèle indispensable à la compréhension de la beauté comme perfection. Après une défense à contretemps des traditions formelles dans la création (puisque ce sont de telles traditions qui constituent les ressources par lesquelles un individu libre et autonome peut vouloir, non seulement se faire l’héritier de ces traditions, mais aussi se montrer original et innovant), je termine en appliquant les idées de Valéry au débat qui a opposé un camp « généraliste » à un camp « particulariste » en matière de raisons esthétiques. (shrink)

Response-dependence theories have historically been very popular in aesthetics, and aesthetic response-dependence has motivated response-dependence in ethics. This chapter closely examines the prospects for such theories. It breaks this category down into dispositional and fittingness strands of response-dependence, corresponding to descriptive and normative ideal observer theories. It argues that the latter have advantages over the former but are not themselves without issue. Special attention is paid to the relationship between hedonism and response-dependence. The chapter also introduces two aesthetic properties that (...) lead to wrong kinds of reasons problems for aesthetic response-dependence: insightfulness and the capacity to change one’s perspective. These properties do not have obvious parallels in the ethical domain, and so present an obstacle for response-dependence even in aesthetics. The chapter ends by examining replies on behalf of the response-dependence theorist, ultimately suggesting that a restricted form of response-dependence is the most promising way forward for fans of such theories. (shrink)

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

Do aesthetic reasons have normative authority over us? Could there be anything like an aesthetic ‘ought’ or an aesthetic obligation? I argue that there are no aesthetic obligations. We have reasons to act certain ways regarding various aesthetic objects – most notably, reasons to attend to and appreciate those objects. But, I argue, these reasons never amount to duties. This is because aesthetic reasons are merely evaluative, not deontic. They can only entice us or invite us – they can never (...) compel us. Beauty gives us goods without shoulds. (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)

Aesthetic hedonism is the view that to be aesthetically good is to please. For most aesthetic hedonists, aesthetic normativity is hedonic normativity. This paper argues that Kant’s third Critique contains resources for a nonhedonic account of aesthetic normativity as sourced in autonomy as self-legislation. A case is made that the account is also Kant’s because it ties his aesthetics into a key theme of his larger philosophy.

One question that leads us into aesthetics is: why does beauty matter? Or, what do aesthetic goods bring to my life, to make it a life that goes well? Or, how does beauty deserve the place we have evidently made for it in our lives? A theory of aesthetic value states what beauty is so as to equip us to answer this question. According to aesthetic hedonism, aesthetic values are properties of items that stand in constitutive relation to pleasure. Contemporary (...) versions of aesthetic hedonism don’t explain what makes aesthetic values aesthetic, but they do explain what makes them normative, stating what makes it the case that aesthetic value facts lend weight to what an agent should do, for the fact that acting yields pleasure is always a reason to act. This book introduces and defends an alternative to aesthetic hedonism. According to the network theory, aesthetic value facts lend weight to its being an achievement for an agent to act. Since agents achieve by acting in coordination with one another, the theory takes seriously the sociality of aesthetic activity. The main argument for the network theory is that it better explains six facts about aesthetic activity than does aesthetic hedonism. The book also discusses the relationship between aesthetic value and pleasure, the point and distinctive character of aesthetic discourse, and the metaphysics of aesthetic value. Two final chapters use the network theory to shed light on how aesthetic value matters to us as individuals and as members of collectives. (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)

Realists about aesthetic judgment believe something like the following: for an aesthetic judgment of be correct, it must respond to the intrinsic aesthetic properties possessed by the object in question (e.g., Meskin et al., 2013; Kieran 2010). However, Cutting’s (2003) empirical research on aesthetic judgment puts pressure on that position. His work indicates that unconscious considerations extrinsic to an artwork can underpin said judgements. This paper takes Cutting’s conclusion a step further: If philosophers grant that it’s possible to appreciate artwork (...) on the basis of unconscious biases, then we never can be fully confident that our aesthetic judgment is undergirded by the intrinsic aesthetic properties of an artwork. Furthermore, if judgment on the basis of unconscious, external reasons cannot be ruled out, we cannot be confident that our aesthetic judgments are ‘correct’. I argue that Cutting’s research is just the tip of the iceberg regarding the extrinsic, unconscious factors that influence aesthetic judgment. Expectation bias formed via social influence and context greatly influence aesthetic judgments and are unavoidable: we inevitably form expectations based on all kinds of contextual cues independently of any actual exposure to the item in question. Such factors make it terribly difficult to be confident in our aesthetic judgments. Even if there are objective properties that mark out some items as aesthetically superior to others, we cannot be sure that our judgments are responding to those properties. (shrink)

What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of this is that there are (...) aesthetic obligations to act, not only permissions. So, I conclude, the aesthetic asks little of us as patients and much of as agents. (shrink)

The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...) have largely focussed on the problems fiction poses for traditional theories of rationality (as in the ‘Paradox of Fiction), challenging fiction’s wider epistemic value. The result has been a theoretical impasse in which the power of fiction to affectively ‘transport’ a reader is at once often lauded (by psychologists) as a privileged route to interpersonal understanding, and condemned (by philosophers) as an abdication of the authority of reason. This chapter surveys some of the central claims on both sides, tracing the source of the debate to competing conceptions of rationality. (shrink)

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)

Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, social practices, and aesthetic value primitivism. I conclude (...) by raising questions for further work in this area. (shrink)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...) to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)

This investigation concerns first what Jacques Derrida and Paul Ricœur consider to be «the question of writing» in Plato’s Phaedrus, and then whether their conception of a general philosophical problem of writing finds support in the dialogue. By contrast to their attempts to «determine» the «status» of writing as the general condition of knowledge, my investigation has two objections. (1) To show that Plato’s concern is not to define writing, but to reflect on what is involved in honest and dishonest (...) inquiry. (2) To argue that Derrida’s and Ricœur’s determination of the instrumental (epistemic and moral) «status» of writing, overlooks crucial difficulties of dishonest writing that Plato’s discussion of the pharmakon reveals. The argument proposed is that honest and dishonest inquiry is not tied to the moral status that writing, as an invention or instrument, unconditionally involves, but to the moral quality of what a human being does when inquiring. (shrink)

According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...) to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value-Meriting-Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non-contingently, but also non-hedonically. VMP is the view that objects of aesthetic value are non-contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit. (shrink)

Aesthetic reasons are reasons to do and think various things. For example, it makes sense to wonder if a tree stump on the lawn was left there for environmental rather than aesthetic reasons, or for no reason at all. Aesthetic considerations of this kind are often contrasted with non-aesthetic reasons—such as moral or epistemic reasons. For example, they seem connected to pleasure-in-experience in a distinctive way that differs from paradigmatic moral reasons. Relatedly, the authority of aesthetic reasons has often been (...) thought to involve less of an “external demand” upon us than in the other cases. In this chapter, I suggest that such distinctiveness and modesty coheres well with an anti-realist treatment that views them as non-objective in nature. I then go on to consider an alternative, more robustly realist conception of aesthetic reasons. (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)

ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...) an alternative view, according to which aesthetic discourse expresses affective states of mind, analogously to how assertions express beliefs. It is because these affective states require first-hand experience that aesthetic discourse communicates that such acquaintance is at hand. The paper furthermore argues that the lack of an experience requirement for aesthetic belief ascriptions constitutes a problem for the kind of expressivist who claims that evaluative belief states are covert non-cognitive states. (shrink)

The main claim of the paper is that, on Kant's account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, it has the following two features: (1) It is an affective responsiveness to the question: “what is to be felt disinterestedly”? As such, it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object. (2) Its actuality depends on endorsement: actually feeling it involves its endorsement as an (...) attitude to have. I claim that seeing that nature of aesthetic pleasure requires that we divest ourselves of the following dilemma: either feelings are the non-cognitive, passive ways through which we are affected by objects; or they are cognitive states by virtue of the theoretical beliefs they necessarily involve. On my reading of Kant, this dilemma is false. Aesthetic pleasure is neither passive, nor theoretically cognitive, and yet, it is an exercise of rational agency by virtue of belonging to a domain of rationality that is largely overlooked in the history of philosophy, but that deserves, I argue following Kant, our close attention: aesthetic rationality. In the first section, I explain this nature of aesthetic pleasure, and in the second section, I respond to a charge of “over-intellectualism.". (shrink)

Many writers describe a sense of requirement in aesthetic experience: some aesthetic objects seem to demand our attention. In this paper, I consider whether this experienced demand could ever constitute a genuine normative requirement, which I call an aesthetic obligation. I explicate the content, form, and satisfaction conditions of these aesthetic obligations, then argue that they would have to be grounded neither in the special weight of some aesthetic considerations, nor in a normative relation we bear to aesthetic objects as (...) such, but in the connections that certain aesthetic considerations have to our practical identities. On the practical identity approach, aesthetic obligation is best understood as a species of promissory obligation, namely self-promising. But this means that the experienced demand can have, at best, the status of a veridical hallucination: although both have the same content, it is the self-promise, and not the experienced demand, that gives rise to the obligation. While aesthetic obligations concern aesthetic objects, they are not obligations to the aesthetic per se. (shrink)

Many aestheticians and ethicists are interested in the similarities and connections between aesthetics and ethics (Nussbaum 1990; Foot 2002; Gaut 2007). One way in which some have suggested the two domains are different is that in ethics there exist obligations while in aesthetics there do not (Hampshire 1954). However, Marcia Muelder Eaton has argued that there is good reason to think that aesthetic obligations do exist (Eaton 2008). We will explore the nature of these obligations by asking whether acts of (...) aesthetic supererogation (acts that go beyond the call of our aesthetic obligations) are possible. In this paper, we defend the thesis that there is good reason to think such acts exist. (shrink)