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  1. Critical Aesthetic Realism.Author unknown - manuscript
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  2. The Aesthetic Turn: Latin Poetry and the Judgement of Taste.Charles Martindale - unknown - Arion 9 (2).
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  3. Arrangement and Timing: Photography, Causation and Anti-Empiricist Aesthetics.Dan Cavedon-Taylor - forthcoming - Ergo: An Open Access Journal of Philosophy.
    According to the causal theory of photography (CTP), photographs acquire their depictive content from the world, whereas handmade pictures acquire their depictive content from their makers’ intentional states about the world. CTP suffers from what I call the Problem of the Missing Agent: it seemingly leaves no room for the photographer to occupy a causal role in the production of their pictures and so is inconsistent with an aesthetics of photography. In this paper, I do three things. First, I amend (...)
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  4. Aesthetic Knowledge.Keren Gorodeisky & Eric Marcus - forthcoming - Philosophical Studies.
    What is the source of aesthetic knowledge? Empirical knowledge, it is generally held, bottoms out in perception. Such knowledge can be transmitted to others through testimony, preserved by memory, and amplified via inference. But perception is where the rubber hits the road. What about aesthetic knowledge? Does it too bottom out in perception? Most say “yes”. But this is wrong. When it comes to aesthetic knowledge, it is appreciation, not perception, where the rubber hits the road. The ultimate source of (...)
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  5. A Hardian Theory of Mathematical Beauty.Adam Pringle & William Tolhurst - forthcoming - Philosophy.
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  6. Admiration, Appreciation, and Aesthetic Worth.Daniel Whiting - forthcoming - Australasian Journal of Philosophy.
    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 generalize 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 (...)
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  7. Beauty Revisited.Peggy Zeglin Brand (ed.) - forthcoming - Indiana University Press.
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  8. The (Meta)Politics of Thinking: On Arendt and the Greeks.Jussi Backman - 2021 - In Kristian Larsen & Pål Rykkja Gilbert (eds.), Phenomenological Interpretations of Ancient Philosophy. Brill. pp. 260-282.
    In this chapter, Jussi Backman approaches Hannah Arendt’s readings of ancient philosophy by setting out from her perspective on the intellectual, political, and moral crisis characterizing Western societies in the twentieth century, a crisis to which the rise of totalitarianism bears witness. To Arendt, the political catastrophes haunting the twentieth century have roots in a tradition of political philosophy reaching back to the Greek beginnings of philosophy. Two principal features of Arendt’s exchange with the ancients are highlighted. The first is (...)
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  9. Der Urteilsbegriff und Wissen aus zweiter Hand in der Ästhetik.Jochen Briesen - 2021 - Deutsche Zeitschrift für Philosophie 69 (4):619-632.
    Although the concept of judgment has been replaced by the concept of belief in many philosophical subdisciplines, it has retained its central role in aesthetics. This paper discusses the following explanation for this: In contrast to the concept of belief, the concept of judgment presupposes conscious and first-personal engagement with the object about which the judgment is being made, and this conscious and first-personal engagement with the object in question plays a more important role in aesthetics than in other domains.
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  10. Neural Underpinnings of Morality Judgment and Moral Aesthetic Judgment.Qiuping Cheng - 2021 - Scientific Reports 11.
    Morality judgment usually refers to the evaluation of moral behavior`s ability to affect others` interests and welfare, while moral aesthetic judgment often implies the appraisal of moral behavior's capability to provide aesthetic pleasure. Both are based on the behavioral understanding. To our knowledge, no study has directly compared the brain activity of these two types of judgments. The present study recorded and analyzed brain activity involved in the morality and moral aesthetic judgments to reveal whether these two types of judgments (...)
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  11. Taste, traits, and tendencies.Alexander Dinges & Julia Zakkou - 2021 - Philosophical Studies 178 (4):1183-1206.
    Many experiential properties are naturally understood as dispositions such that e.g. a cake tastes good to you iff you are disposed to get gustatory pleasure when you eat it. Such dispositional analyses, however, face a challenge. It has been widely observed that one cannot properly assert “The cake tastes good to me” unless one has tried it. This acquaintance requirement is puzzling on the dispositional account because it should be possible to be disposed to like the cake even if this (...)
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  12. In Defense of Forsey’s Aesthetics of Design.Monika Favara-Kurkowski - 2021 - Avant: Trends in Interdisciplinary Studies 12 (3):1-10.
    In philosophical aesthetics, discussions on design objects place the notion of Functional Beauty at the fore. Such a philosophical approach can be found in Jane Forsey’s book The Aesthetics of Design that focuses on the notion of function to promote the aesthetic value of design and develops an interpretation of Kantian Dependent Beauty around it. Lucía Jiménez Sánchez has recently put forward several flaws of Functional Beauty accounts. She presented several practical cases as evidence for the narrowness of Functional Beauty (...)
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  13. Kierkegaard, Mimesis, and Modernity: A Study of Imitation, Existence, and Affect.Wojciech Kaftanski - 2021 - Routledge.
    This book challenges the widespread view of Kierkegaard’s idiosyncratic and predominantly religious position on mimesis. -/- Taking mimesis as a crucial conceptual point of reference in reading Kierkegaard, this book offers a nuanced understanding of the relation between aesthetics and religion in his thought. Kaftanski shows how Kierkegaard's dialectical-existential reading of mimesis interlaces aesthetic and religious themes, including the familiar core concepts of imitation, repetition, and admiration as well as the newly arisen notions of affectivity, contagion, and crowd behavior. Kierkegaard’s (...)
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  14. “Aesthetic Ideas”: Mystery and Meaning in the Early Work of Barrie Kosky.Jennifer A. McMahon - 2021 - In James Phillips & John Severn (eds.), Barrie Kosky’s Transnational Theatres. New York, NY, USA: Springer. pp. 59-80.
    In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...)
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  15. The Interpersonal Variability of Gustatory Sensation and the Prospects for an Alimentary Aesthetics.Vaughn Bryan Baltzly - 2020 - Intervalla 7 (1):6-16.
    We all have different “tastes” for different tastes: some of us have a sweet tooth, while others prefer more subtle flavors; some crave spicy foods, while others cannot stand them. As Bourdieu and others have pointed out, these varying judgments seem to be more than mere preferences; often they reflect (and partially constitute) differences of class and culture. But I want to suggest that we’ve possibly overlooked another important source of these divergent gastronomic evaluations, other than hierarchy and caste: mere (...)
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  16. Ästhetische Urteile und ästhetische Eigenschaften –– Sprachphilosophische und metaphysische Überlegungen.Jochen Briesen - 2020 - Frankfurt a.M.: Klostermann.
    Welchen Zweck verfolgen wir mit ästhetischen Urteilen, wie z.B. „Das ist schön“? Drücken wir damit nur unsere Begeisterung aus oder schreiben wir Gegenständen objektive, von uns unabhängige Eigenschaften zu? Können ästhetische Urteile wahr oder falsch sein, und falls ja, gilt der jeweilige Wahrheitswert dann allgemeingültig oder muss er in gewisser Hinsicht relativiert werden? Das Buch ist der Aufgabe gewidmet, Fragen dieser Art zu beantworten. Sprachphilosophische Fragen in Bezug auf ästhetische Urteile lassen sich allerdings nur dann präzise behandeln, wenn man sie (...)
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  17. “Categories of Art” at 50: An IntroductionSymposium: “Categories of Art” at 50.Dan Cavedon-Taylor - 2020 - Journal of Aesthetics and Art Criticism 78 (1):65-66.
    Introduction to a symposium in The Journal of Aesthetics and Art Criticism on the 50th anniversary of Kendall Walton's "Categories of Art." Featuring papers by Madeleine Ransom, Stacie Friend, David Davies and Kendall Walton.
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  18. The Aesthetic and Literary Qualities of Scientific Thought Experiments.Alice Murphy - 2020 - In Milena Ivanova & Steven French (eds.), The Aesthetics of Science: Beauty, Imagination and Understanding.
    Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin 2014). (...)
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  19. "I Like How It Looks but It is Not Beautiful" -- Sensory Appeal Beyond Beauty.Claudia Muth, Jochen Briesen & Claus-Christian Carbon - 2020 - Poetics 79.
    Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...)
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  20. Waltonian PerceptualismSymposium: “Categories of Art” at 50.Madeleine Ransom - 2020 - Wiley: The Journal of Aesthetics and Art Criticism 78 (1):66-70.
    Kendall Walton’s project in ‘Categories of Art’ (1970) is to answer two questions. First, does the history of an artwork’s production determine its aesthetic properties? Second, how – if at all – should knowledge of the history of a work’s production influence our aesthetic judgments of its properties? While his answer to the first has been clearly understood, his answer to the second less so. Contrary to how many have interpreted Walton, such knowledge is not necessary for making aesthetic judgments; (...)
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  21. A Linguistic Specification of Aesthetic Judgments.Jochen Briesen - 2019 - British Journal of Aesthetics 59 (4):373-391.
    This paper aims to delineate the class of aesthetic judgments linguistically. The main idea is that aesthetic judgments can be specified by a certain set of assertibility conditions, i.e., by norms that govern appropriate speech-acts. This idea is spelled out in detail and defended against various objections. The suggestion leads to an interesting account of aesthetic judgments that is theoretically fruitful: It provides the basis for a non-circular and satisfying characterization of the whole domain of aesthetic research and it marks (...)
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  22. De Pulchritudine Non Est Disputandum? A Cross‐Cultural Investigation of the Alleged Intersubjective Validity of Aesthetic Judgment.Florian Cova, Christopher Y. Olivola, Edouard Machery, Stephen Stich, David Rose, Mario Alai, Adriano Angelucci, Renatas Berniūnas, Emma E. Buchtel, Amita Chatterjee, Hyundeuk Cheon, In-Rae Cho, Daniel Cohnitz, Vilius Dranseika, Ángeles E. Lagos, Laleh Ghadakpour, Maurice Grinberg, Ivar Hannikainen, Takaaki Hashimoto, Amir Horowitz, Evgeniya Hristova, Yasmina Jraissati, Veselina Kadreva, Kaori Karasawa, Hackjin Kim, Yeonjeong Kim, Minwoo Lee, Carlos Mauro, Masaharu Mizumoto, Sebastiano Moruzzi, Jorge Ornelas, Barbara Osimani, Carlos Romero, Alejandro Rosas, Massimo Sangoi, Andrea Sereni, Sarah Songhorian, Paulo Sousa, Noel Struchiner, Vera Tripodi, Naoki Usui, Alejandro V. del Mercado, Giorgio Volpe, Hrag A. Vosgerichian, Xueyi Zhang & Jing Zhu - 2019 - Mind and Language 34 (3):317-338.
    Since at least Hume and Kant, philosophers working on the nature of aesthetic judgment have generally agreed that common sense does not treat aesthetic judgments in the same way as typical expressions of subjective preferences—rather, it endows them with intersubjective validity, the property of being right or wrong regardless of disagreement. Moreover, this apparent intersubjective validity has been taken to constitute one of the main explananda for philosophical accounts of aesthetic judgment. But is it really the case that most people (...)
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  23. Revisionist Architecture.Karim Gorgi - 2019 - Journal of Urban Society's Arts 6 (2):81-86.
    This paper introduces the reconciliation as well as an analysis of the divide between contemporary and classical aesthetics in architecture. The analysis outlines the segmentation as one of the standards rather than of aesthetic appeal, concluding with a proposal for the reconciliation by means of integrating modern and contemporary art into today’s architecture. This reconciliation would not only serve as an artistic take on architecture but also raise awareness of the subjectivity of beauty in architecture. In the conclusion of this (...)
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  24. The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 55 (1):199-220.
    The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...)
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  25. Measure for Measure: Wittgenstein's Critique of the Augustinian Picture of Music.Eran Guter - 2019 - In Hanne Appelqvist (ed.), Wittgenstein and the Limits of Language. London: Routledge. pp. 245-269.
    This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...)
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  26. On Hybrid Expressivism About Aesthetic Judgments.Sanna Hirvonen, Natalia Karczewska & Michał P. Sikorski - 2019 - Grazer Philosophische Studien 96 (4):541-568.
    Contextualist accounts of aesthetic predicates have difficulties explaining why we feel that speakers are disagreeing when they make true and compatible but superficially contradictory aesthetic judgments. One possible way to account for the disagreement is hybrid expressivism, which holds that the disagreement happens at the level of pragmatically conveyed, clashing contents about the speakers’ conative states. Marques defends such a strategy, combining dispositionalism about value, contextualism, and hybrid expressivism. This paper critically evaluates the plausibility of the suggested pragmatic mechanisms in (...)
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  27. Aesthetic Dissonance. On Behavior, Values, and Experience Through New Media.Adrian Mróz - 2019 - Hybris 47:1-21.
    Aesthetics is thought of as not only a theory of art or beauty, but also includes sensibility, experience, judgment, and relationships. This paper is a study of Bernard Stiegler’s notion of Aesthetic War (stasis) and symbolic misery. Symbolic violence is ensued through a loss of individuation and participation in the creation of symbols. As a struggle between market values against spirit values human life and consciousness within neoliberal hyperindustrial society has become calculable, which prevents people from creating affective and meaningful (...)
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  28. Complex Systems in Aesthetics and Arts.Juan Romero, Colin Johnson & Jon McCormack - 2019 - Complexity 2019:1-2.
    The arts are one of the most complex of human endeavours, and so it is fitting that a special issue on Complex Systems in Aesthetics and Arts is being published. As the editors of this special issue, we would like to thank the reviewers of the submitted papers for their hard work in making this issue possible, as well as the authors who submitted their work and were very responsive to the comments of the reviewers and editors.
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  29. James O. Young, Ed., Semantics of Aesthetic Judgements.Marián Zouhar - 2019 - Estetika 56 (1):147-156.
    A review of James O. Young’s Semantics of Aesthetic Judgements.
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  30. Political Ramifications of Formal Ugliness in Kant’s Aesthetics.Christopher Buckman - 2018 - Idealistic Studies 48 (3):195-209.
    Kant’s theory of taste supports his political theory by providing the judgment of beauty as a symbol of the good and example of teleological experience, allowing us to imagine the otherwise obscure movement of nature and history toward the ideal human community. If interpreters are correct in believing that Kant should make room for pure judgments of ugliness in his theory of taste, we will have to consider the implications of such judgments for Kant’s political theory. It is here proposed (...)
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  31. Aesthetic Rationality.Keren Gorodeisky & Eric Marcus - 2018 - Journal of Philosophy 115 (3):113-140.
    We argue that the aesthetic domain falls inside the scope of rationality, but does so in its own way. Aesthetic judgment is a stance neither on whether a proposition is to be believed nor on whether an action is to be done, but on whether an object is to be appreciated. Aesthetic judgment is simply appreciation. Correlatively, reasons supporting theoretical, practical and aesthetic judgments operate in fundamentally different ways. The irreducibility of the aesthetic domain is due to the fact that (...)
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  32. Recommending Beauty: Semantics and Pragmatics of Aesthetic Predicates.Ivan Milić & Javier González de Prado Salas - 2018 - Inquiry: An Interdisciplinary Journal of Philosophy 61 (2):198-221.
    The paper offers a semantic and pragmatic analysis of statements of the form ‘x is beautiful’ as involving a double speech act: first, a report that x is beautiful relative to the speaker’s aesthetic standard, along the lines of naive contextualism; second, the speaker’s recommendation that her audience comes to share her appraisal of x as beautiful. We suggest that attributions of beauty tend to convey such a recommendation due to the role that aesthetic practices play in fostering and enhancing (...)
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  33. Against Aesthetic Judgments.Bence Nanay - 2018 - In Jennifer A. McMahon (ed.), Social Aesthetics and Moral Judgment. London: Routledge.
    Analytic aesthetics has been obsessed with mature, art historically well-informed aesthetic judgment. But the vast majority of our engagement with art fails to take the form of this kind of judgment. Crucially, there seems to be a disconnect between taking pleasure in art and forming mature, well-informed judgments about it. My aim is to shift the emphasis away from aesthetic judgments to ways of engaging with works of art that are more enjoyable, more rewarding and happen to us more often.
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  34. The Aesthetics of Theory Selection and the Logics of Art.Ian O’Loughlin & Kate McCallum - 2018 - Philosophy of Science (2):325-343.
    Philosophers of science discuss whether theory selection depends on aesthetic judgments or criteria, and whether these putatively aesthetic features are genuinely extra-epistemic. As examples, judgments involving criteria such as simplicity and symmetry are often cited. However, other theory selection criteria, such as fecundity, coherence, internal consistency, and fertility, more closely match those criteria used in art contexts and by scholars working in aesthetics. Paying closer attention to the way these criteria are used in art contexts allows us to understand some (...)
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  35. The Art of Doing Mathematics.Christian Helmut Wenzel - 2018 - In Berys Gaut & Matthew Kieran (eds.), Creativity and Philosophy. Routledge. pp. 313-330.
    Mathematicians often say that their theorems, proofs, and theories can be beautiful. They say mathematics can be like art. They know how to move creatively and freely in their domains. But ordinary people usually cannot do this and do not share this view. They often have unpleasant memories from school and do not have this experience of freedom and creativity in doing mathematics. I myself have been a mathematician, and I wish to highlight some of the creative aspects in doing (...)
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  36. Reasoned and Unreasoned Judgement: On Inference, Acquaintance and Aesthetic Normativity.Dan Cavedon-Taylor - 2017 - British Journal of Aesthetics 57 (1):1-17.
    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, (...)
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  37. Disputing Taste.Dominic McIver Lopes - 2017 - In James O. Young (ed.), The Semantics of Aesthetic Judgement. Oxford: pp. 61-81.
    Philosophers have championed contextualist and relativist semantics for aesthetic discourse that attempt to explain faultless disagreement. However, both types of semantics do a good job explaining faultless disagreement. As a rule, more explananda assist in theory choice. This chapter proposes that three more facts need explaining. Aesthetic disputes revolve around objects, even as they express attitudes. They also extend into lengthy exchanges wherein reasons are offered and withdrawn. Finally, they play a role in the formation and regulation of aesthetic practices. (...)
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  38. Constructing Aesthetic Value: Responses to My Commentators.Mohan Matthen - 2017 - Australasian Philosophical Review 1 (1):100-111.
    This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aesthetic value of a work of art (...)
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  39. Solving the Puzzle of Aesthetic Assertion.Andrew Morgan - 2017 - Southwest Philosophy Review 33 (1):95-103.
    Most of us think that we can obtain knowledge about the aesthetic properties of objects via testimony – at least sometimes. We can learn that a painting is beautiful by reading a book, or learn that a film is awful by talking to a friend (as long as our sources are reliable). At the same time, if we go on to share this knowledge we have to carefully qualify it as second-hand in order to avoid misleading our audience. Simply stating (...)
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  40. The Uses of Aesthetic Testimony.C. Thi Nguyen - 2017 - British Journal of Aesthetics 57 (1):19-36.
    The current debate over aesthetic testimony typically focuses on cases of doxastic repetition — where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p without qualification. I suggest that we broaden the set of cases under consideration. I consider a number of cases of action from testimony, including reconsidering a disliked album based on testimony, and choosing an artistic educational institution from testimony. But this cannot simply be explained by supposing that testimony is usable for (...)
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  41. Trump is Gross: Taking Political Taste Seriously.Shelley Park - 2017 - Kennedy Institute of Ethics Journal 27 (S2):23-42.
    My 5-year-old granddaughter refers to foods, clothes, and people she does not like as “supergross.” It is a verbiage that I have found myself adopting for talking about many things Trumpian, including the man himself. The gaudy, gold-plated everything in Trump Towers; his ill-fitting suits; his poorly executed fake tan and comb-over; his red baseball cap emblazoned with “Make America Great Again;” his creepy way of talking about women ; his racist vitriol about Blacks, Muslims and Mexicans; his blatant over-the-top (...)
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  42. Is Perception the Canonical Route to Aesthetic Judgement?Jon Robson - 2017 - Australasian Journal of Philosophy:1-12.
    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 (...)
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  43. Aesthetic Properties as Powers.Vid Simoniti - 2017 - European Journal of Philosophy 25 (4):1434-1453.
    This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...)
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  44. The Priority of Imagination in Judgment -Hannah Arendt's Interpretation of Kant and its Problems.Tak-lap Yeung - 2017 - Journal of Philosophical Ideas 1 (Special Issue):345-363.
    The power of imagination (Die Einbildungskraft), or in short imagination, has a unique and prior position in Arendt’s theory of judgment, which has been long overlooked. This first aim of this paper is to argue for the priority and necessity of imagination in Arendt’s theory of judgment by reconstructing her descriptions and arguments mainly from her interpretation of Kantian philosophy. The second aim is to shed light on the implications of the priority of imagination in respect of judgment. In the (...)
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  45. The Semantics of Aesthetic Judgements.James O. Young (ed.) - 2017 - Oxford University Press UK.
    Are aesthetic judgements simply expressions of personal preference? If two people disagree about the beauty of a painting are both judgements valid or can someone be mistaken about the aesthetic value of an artwork? This volume brings together some of the leading philosophers of art and language to debate the status of aesthetic judgements.
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  46. A Contextualist Semantics for Aesthetic Judgments.Lance Aschliman & Jordan Schummer - 2016 - Inquiry: An Interdisciplinary Journal of Philosophy 59 (6):632-662.
    In this paper, we present and defend a modest anti-realist conception of aesthetic properties – e.g. being unified, moving, delicate, tragic, etc – in order to motivate a contextualist semantic view about aesthetic judgments. We argue that aesthetic properties are plausibly seen as viewpoint-dependent even though our epistemic access to the presence of aesthetic properties is decidedly more complicated than other, less controversial instances of viewpoint-dependent properties. On the basis of our anti-realist conception, we argue, utilizing the Kaplanian distinction between (...)
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  47. The Sound of Bedrock: Lines of Grammar Between Kant, Wittgenstein, and Cavell.Avner Baz - 2016 - European Journal of Philosophy 24 (2):607-628.
    In ‘Aesthetics Problems of Modern Philosophy’ Stanley Cavell proposes, first, that Kant's characterization of judgments of beauty may be read as a Wittgensteinian grammatical characterization, and, second, that the philosophical appeal to ‘what we say and mean’ partakes of the grammar of judgment of beauty. I argue first that the expression of the dawning of an aspect partakes of the grammar of judgments of beauty as characterized by Kant, and may also be seen—on a prevailing way of thinking about concepts (...)
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  48. Normativity and Purposiveness.Angela Breitenbach - 2016 - British Journal of Aesthetics 56 (4):405-408.
    First, I raise two objections against Ginsborg’s interpretation of natural teleology. I argue that Ginsborg’s notion of primitive normativity is too thin to account for Kant’s more substantive conception of the organism. Furthermore, I question whether Kant has room for a notion of purposiveness that is entirely divorced from intentional activity. Second, I ask about the implications of Ginsborg’s account of the relationship between aesthetic judgement and cognition. I suggest that her reading can easily be extended to allow for aesthetic (...)
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  49. Affine Geometry, Visual Sensation, and Preference for Symmetry of Things in a Thing.Birgitta Dresp-Langley - 2016 - Symmetry 127 (8).
    Evolution and geometry generate complexity in similar ways. Evolution drives natural selection while geometry may capture the logic of this selection and express it visually, in terms of specific generic properties representing some kind of advantage. Geometry is ideally suited for expressing the logic of evolutionary selection for symmetry, which is found in the shape curves of vein systems and other natural objects such as leaves, cell membranes, or tunnel systems built by ants. The topology and geometry of symmetry is (...)
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  50. The Beautiful and the Good: Introduction.Robert Fudge - 2016 - Essays in Philosophy 17 (1):1-4.
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