Aesthetic judgements formed on the basis of testimony are commonly held to be defective, illegitimate, or otherwise problematic. This first book-length treatment of the debate surrounding aesthetic testimony argues for the surprising conclusion that this widespread view is mistaken. Aesthetic testimony is in no way inferior as a source of judgement when compared to either first-hand aesthetic judgement, or testimony concerning non-aesthetic matters. Alongside establishing this position (an extreme form of ‘optimism concerning aesthetic testimony’) this work also responds to the (...) most prominent arguments for the opposing view (‘pessimism concerning aesthetic testimony’). Along the way, it also re-examines our understanding of the norms which govern both judgement and assertion in aesthetics. (shrink)

The key to understanding what is problematic about The Man's behavior lies in considering his inflexible attitude toward following a particular kind of rule: the construction instructions accompanying his various LEGO sets. The Man treats the LEGO instructions he is following—which clearly have, at best, the status of conventional, rather than moral, rules—in a manner fitting only for moral requirements. To understand the severity of The Man's mistake, people need only contrast his attitude with that of Emmet Brickowoski at the (...) start of The LEGO Movie. Emmet is largely to be pitied rather than blamed for his inflexible rule‐following behavior. By contrast, there is no indication that The Man's rule‐following behavior is in any way aimed, even unsuccessfully, at attaining some genuine good. Rather, The Man follows the rules merely because they are, well, the rules. (shrink)

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

It is frequently claimed that we can learn very little, if anything, about the aesthetic character of an artwork on the basis of testimony. Such disparaging assessments of the epistemic value of aesthetic testimony contrast markedly with our acceptance of testimony as an important source of knowledge in many other areas. There have, however, been a number of challenges to this orthodoxy of late; from those who seek to deny that such a contrast exists as well as attempts by those (...) who accept the distinction to provide an explanation and defence of the contrast. In Section I, I outline a little of the nature and history of the debate over aesthetic testimony. Section II, focuses on the opposing positions on aesthetic testimony, optimism and pessimism, and takes steps to clarify what exactly is at issue between them. In Section III, I survey considerations which have been adduced in favour of pessimism ranging from brute appeal to intuition to complex argumentation before turning in Section IV, to look at motivations for optimism. Finally, in Section V, I consider some alternative views which claim that, for a variety of reasons, it is a mistake to construe the debate over aesthetic testimony as concerned with the epistemic standing of aesthetic beliefs formed on the basis of testimony. (shrink)

How do we form aesthetic judgements? And how should we do so? According to a very prominent tradition in aesthetics it would be wrong to form our aesthetic judgements about a particular object on the basis of anything other than first-hand acquaintance with the object itself (or some very close surrogate) and, in particular, it would be wrong to form such judgements merely on the basis of testimony. Further this tradition presupposes that our actual practice of forming aesthetic judgements typically (...) meets, or at least approximates, this ideal. In this paper I target this descriptive claim and argue—by appeal to some empirical work concerning belief polarization and echo chambers in aesthetics—that our actual practice of forming aesthetic judgements is heavily dependent on social sources such as testimony. I then briefly consider what normative implications this descriptive claim may have. (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)

In this paper I argue that the growing block theory of time has rather surprising, and hitherto unexplored, explanatory benefits when it comes to certain enduring philosophical puzzles concerning death. In particular, I claim the growing block theorist has readily available and convincing answers to the following questions: Why is it an evil to be dead but not an evil to be not yet born? How can death be an evil for the dead if they no longer exist to suffer (...) it? When is death an evil for the one who dies? The ability to give such answers is a significant, but by no means decisive, advantage for the growing block view of time. (shrink)

You're not as clever as you think you are. Nor for that matter are you as good a driver, teacher or romantic partner as you take yourself to be and, as if that wasn't bad enough, you are also considerably less popular than you have hitherto believed. Finally – and crucially for the argument of this paper – I contend that your abilities as an aesthetic judge are considerably less impressive than you take them to be. To avoid descending into (...) name calling it's worth pointing out that such claims apply to the vast majority of people – myself, somewhat paradoxically, included. (shrink)

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that appreciating (...) the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

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)

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

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)

In this paper, we argue that time travel is problematic for the endurantist. For it appears to be possible, given time travel, to construct a wall out of a single time travelling brick. This commits the endurantist to one of the following: (a) the wall is composed of the time travelling brick many times over; (b) the wall does not in fact exist at all; (c) the wall is identical to the brick. We argue that each of these options is (...) unsatisfactory. (shrink)

"This collection is the first book-length examination of the various epistemological issues underlying legal trials. Trials are, among other things, centrally concerned with determining truth: whether a criminal defendant has in fact culpably committed the act of which they are accused, or whether a civil defendant is in fact responsible for the damages alleged by the plaintiff. But are trials truth-conducive? Assessing the value of trials as truth-seeking endeavors requires that we consider a host of underlying social epistemological questions. The (...) contributors to this volume address a number of these pressing questions, including but not limited to the following: How much credence should they give to eyewitness testimony? How should we balance the relative epistemic value of testimony offered by defense witnesses and prosecution witnesses? Are juries an effective means of arriving at justified beliefs about a defendant's guilt or innocence? When, if ever, is statistical information about a defendant's character relevant? What degree of certainty should we require to support a verdict of 'guilty'? How should standards of proof be interpreted for allegations that contain numerous discrete components? The Social Epistemology of Legal Trials will be of interest to scholars and upper-level students working on issues at the intersection of epistemology and philosophy of law"--. (shrink)

What is the nature of time? Does it flow? Do the past and future exist? Drawing connections between historical and present-day questions, A Critical Introduction to the Metaphysics of Time provides an up-to-date guide to one of the most central and debated topics in contemporary metaphysics. Introducing the views and arguments of Parmenides, Plato, Aristotle, Descartes, Newton and Leibniz, this accessible introduction covers the history of the philosophy of time from the Pre-Socratics to the beginning of the 20th Century. The (...) historical survey presents the necessary background to understanding more recent developments, including McTaggarts 1908 argument for the unreality of time, the open future, the perdurance/endurance debate, the possibility of time travel, and the relevance of current physics to the philosophy of time. Informed by cutting-edge philosophical research, A Critical Introduction to the Metaphysics of Time evaluates influential historical arguments in the context of contemporary developments. (shrink)

In a recent article Mark Ian Thomas Robson argues that there is a clear contradiction between the view that possible worlds are a part of God's nature and the theologically pivotal, but philosophically neglected, claim that God is perfectly beautiful. In this article I show that Robson's argument depends on several key assumptions that he fails to justify and as such that there is reason to doubt the soundness of his argument. I also demonstrate that if Robson's (...) argument were sound then this would be a problem for all classical theists and not just those who hold the possible worlds view. (shrink)

ABSTRACTIt is commonplace amongst philosophers of art to make claims that postulate important links between aesthetics and perception. In this paper, I focus on one such claim—that perception is the canonical route to aesthetic judgment. I consider a range of prima facie plausible interpretations of this claim, and argue that each fails to identify any important link between aesthetic judgment and perception. Given this, I conclude that we have good reason to be sceptical of the claim that perception is in (...) any way privileged as a source of aesthetic judgment. (shrink)

It is commonplace amongst philosophers of art to make claims which postulate important links between aesthetics and perception. In this paper, I focus on one such claim: that perception is the canonical route to aesthetic judgement. I consider a range of prima facie plausible interpretations of this claim and argue that they each fail to identify any important link between aesthetic judgement and perception. Given this, I conclude that we have good reason to be sceptical of the claim that perception (...) is in any way privileged as a source of aesthetic judgement. (shrink)

The doctrine of divine aseity has played a significant role in the development of classical theism. However, very little attention has been paid in recent years to the question of how precisely aseity should be characterized. We argue that this neglect is unwarranted since extant characterizations of this central divine attribute quickly encounter difficulties. In particular, we present a new argument to show that the most widely accepted contemporary account of aseity is inconsistent. We then consider the prospects for developing (...) a new account of aseity which avoids the pitfalls we have highlighted. (shrink)

Indeterminacy in its various forms has been the focus of a great deal of philosophical attention in recent years. Much of this discussion has focused on the status of vague predicates such as ‘tall’, ‘bald’, and ‘heap’. It is determinately the case that a seven-foot person is tall and that a five-foot person is not tall. However, it seems difficult to pick out any determinate height at which someone becomes tall. How best to account for this phenomenon is, of course, (...) a controversial matter. For example, some (such as Sorensen (2001) and Williamson (2002)) maintain that there is a precise height at which someone becomes tall and such apparent cases of indeterminacy merely reflects our ignorance of this fact. Others maintain that there is some genuine – and not merely epistemic – indeterminacy present is such cases and offer various accounts of how best to account for it. Supervaluationists (such as Keefe (2008)), for example, claim that the indeterminacy with respect to vague terms lies in their not having a single definite extension. Rather, each term is associated with a range of possible precise extensions or precisifications such that it is semantically unsettled which is the correct extension. One precisification of ‘tall’ might allow that anyone over five feet ten inches is tall, whereas another would only allow those over six foot to qualify; but no precisification will take someone who is five foot to be tall, and someone who is seven foot will count as tall on all precisifications. Thus – while someone who is seven foot will be determinately tall and someone who is five foot determinately not so – it will be indeterminate whether someone who stands at five foot eleven inches is tall. -/- Yet, it is important to stress that putative cases of indeterminacy are not limited to vague predicates of this kind. Philosophers have invoked indeterminacy in discussions of topics as diverse as moral responsibility (Bernstein (forthcoming)), identity over time (Williams (2014)), and the status of the future (Barnes and Cameron (2009)). In this paper, we focus on two areas where discussion of various kinds of indeterminacy has been commonplace: physics and fiction. We propose a new model for understanding indeterminacy across these domains and argue that it has some notable advantages when compared to earlier accounts. Treating physics and fiction cases univocally also indicates an interesting connection between indeterminacy in these two areas. (shrink)

Are the circumstances in which moral testimony serves as evidence that our judgement-forming processes are unreliable the same circumstances in which mundane testimony serves as evidence that our mundane judgement-forming processes are unreliable? In answering this question, we distinguish two possible roles for testimony: (i) providing a legitimate basis for a judgement, (ii) providing (‘higher-order’) evidence that a judgement-forming process is unreliable. We explore the possibilities for a view according to which moral testimony does not, in contrast to mundane testimony (...) play role (i), but can play role (ii). We argue that standard motivations for rejecting this hybrid position are unpersuasive but suggest that a more compelling reason might be found in considering the social nature of morality. (shrink)

The problem of evil is typically presented as a problem – sometimes the problem – facing theistic realists. This article takes no stance on what effect (if any) the existence of evil has on the rationality of theistic belief. Instead, it explores the possibility of using the problem of evil to generate worries for some of those who reject theistic realism. Although this article focuses on the consequences for a particular kind of religious fictionalist, the lessons adduced are intended to (...) have more general application. (shrink)

Discussion of the role which religious experience can play in warranting theistic belief has received a great deal of attention within contemporary philosophy of religion. By contrast, the relationship between experience and atheistic belief has received relatively little focus. Our aim in this paper is to begin to remedy that neglect. In particular, we focus on the hitherto under-discussed question of whether experiences of God’s absence can provide positive epistemic status for a belief in God’s nonexistence. We argue that there (...) is good reason to accept an epistemic parity between experiences of God’s presence and experiences of God’s absence. (shrink)

Aestheticians have had a great deal to say recently in praise of (aesthetic) appreciation. This enthusiastic appreciation for appreciation may seem unsurprising given the important role it plays in many of our aesthetic practices, but we maintain that some prominent aestheticians have overstated the role of appreciation (and, perhaps more importantly, understated the role of other elements we will discuss) when it comes to the exercise of aesthetic taste. This is not, of course, to deny the obvious fact that appreciation (...) often plays an important role in our aesthetic practices but merely that it is a mistake to cast it in the role of the sine qua non of aesthetics. (shrink)

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

In her book Things, Carolyn Korsmeyer argues that authenticity or what she often calls “genuineness” is “an aesthetically salient property” (2019, 34), a proper.

Open peer commentary on the article “The World of Screen Creatures” by Bin Liu. Abstract: Bin Liu’s target article “The World of Screen Creatures” proposes a new constructivist understanding of our relationship to the (apparent) external world. While there is much that is interesting and innovative in Liu’s account, I suggest that there are some key points for clarification that would help readers to be better able to weigh the merits of his account against its rivals.

Veronica Mars's hometown harbors a whole range of social ills. Neptune provides a very poor environment for nurturing trusting relationships. A typical resident of Neptune may quite reasonably be reluctant ever to trust fully his or her neighbors, co‐workers, and even closest friends. Veronica Mars is a far from being a typical resident of Neptune. Veronica is atypical in ways that should make her even less trusting than others in Neptune. It seems that there are some people whom Veronica genuinely (...) trusts—at least some of the time: her father Keith, Wallace Fennel and Logan Echolls.. This chapter analyzes whether Veronica genuinely trusts anyone. It first explains what 'trust' really means. Veronica's relationship with Keith, her daddy, is the best place to look for a genuinely trusting relationship in Veronica's life. The trust between them isn't perfect. Sadly, the distrust between father and daughter goes much deeper than that. (shrink)

This collection of essays is devoted to the philosophical examination of the aesthetics of videogames. Videogames represent one of the most significant developments in the modern popular arts, and it is a topic that is attracting much attention among philosophers of art and aestheticians. As a burgeoning medium of artistic expression, videogames raise entirely new aesthetic concerns, particularly concerning their ontology, interactivity, and aesthetic value. The essays in this volume address a number of pressing theoretical issues related to these areas, (...) including but not limited to: the nature of performance and identity in videogames; their status as an interactive form of art; the ethical problems raised by violence in videogames; and the representation of women in videogames and the gaming community. _The Aesthetics of Videogames _is an important contribution to analytic aesthetics that deals with an important and growing art form. (shrink)

This chapter explores a range of significant similarities and differences between videogames and films. It also examines the relationship between the philosophies of each. We begin by addressing the definition of videogames and the question of whether they count as a subcategory of some other artistic kind, namely, film or the moving image. We then turn to the debate about the art status of videogames and compare this to the debate concerning the art status of films. We go on to (...) explore the nature of interactivity in videogames and ask whether videogame interactivity differs from the kind of interactivity that one can find in other artistic domains. We conclude by exploring various ethical issues relating to videogames and, again, compare these to related issues which arise with respect to film. (shrink)

How far should philosophical accounts of the value and interpretation of art be sensitive to the scientific approaches used by psychologists, sociologists, and evolutionary thinkers? A team of experts urge different answers to this question, and explore how empirical inquiry can shed light on problems traditionally regarded as philosophical.

In this article I reply to Jon Robson's objections to my argument that God does not contain any possible worlds. I had argued that ugly possible worlds clearly compromise God's beauty. Robson argues that I failed to show that possible worlds can be subject to aesthetic evaluation, and that even if they were it could be the case that ugliness might contribute to God's overall beauty. In reply I try to show that possible worlds are aesthetically evaluable by (...) arguing that possible worlds are maximally rich representations of possible events. I further argue that nothing in God's being can be aesthetically non-evaluable since God must be maximal beauty – a beauteous maximality which needs no ugliness. Finally I show in what sense Christ's heavenly scars can be beautiful. (shrink)

A book review of Jon Robson, Aesthetic Testimony: An Optimistic Approach. Oxford: Oxford University Press, 2022, x+166 pp. ISBN 9780192862952.

This volume is the first-ever collection of essays devoted to the Lurianic concept of tsimtsum. It contains eighteen studies in philosophy, theology, and intellectual history, which demonstrate the historical development of this notion and its evolving meaning: from the Hebrew Bible and the classical midrashic collections, through Kabbalah, Isaac Luria himself and his disciples, up to modernity (ranging from Spinoza, Böhme, Leibniz, Newton, Schelling, and Hegel to Scholem, Rosenzweig, Heidegger, Benjamin, Adorno, Horkheimer, Levinas, Jonas, Moltmann, and Derrida).

Jacob (history, New School for Social Research) proposes that the science of the 17th and 18th centuries was eventually accepted because it was made compatible with larger political and economic interests. A celebration of the recently concluded 33 volume edition of the Collected works of John Stuart Mill, produced over a period of nearly 30 years, the last 20 under the guiding genius (and hand) of general editor Robson. Following a tributary history of the project itself, essays cover Mill's (...) career as a thinker and as a bureaucrat and public servant, exploring the effects of the various milieu--domestic, political, administrative, religious, and cultural--in which he moved. Annotation copyrighted by Book News, Inc., Portland, OR. (shrink)

The first book devoted to Derrida's Marranism - his paradoxical 'non-Jewish Jewishness' - connecting it to the Derridean themes of exile, survival, betrayal and autobiography.