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  1. An Aesthetic Argument for Weak Transhumanism.Mark Bailey - manuscript
    This paper presents a Kantian aesthetic argument in defense of weak transhumanism, contending that human fragility, finitude, and imperfection are not shortcomings to be transcended but essential conditions of beauty and meaning. Against the backdrop of accelerating technological advancement—particularly developments in artificial intelligence, brain-computer interfaces, and radical enhancement—the paper challenges the assumptions of strong transhumanism, which seeks to overcome the limits of the human condition. Drawing on Immanuel Kant’s theory of aesthetic judgment and the sublime, it argues that the value (...)
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  2. Folk Aesthetic Intersubjectivism.Giulio Pietroiusti - manuscript
    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 (...)
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  3. Band Merch, Silencing and Aesthetic Community.Felix Bräuer - forthcoming - Estetika: The European Journal of Aesthetics.
    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 (...)
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  4. Shared Aesthetic Experience, Community, and Meaningfulness.Anthony Cross - forthcoming - Philosophical Topics.
    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.
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  5. Non-Monotonic Theories of Aesthetic Value.Robbie Kubala - forthcoming - Australasian Journal of Philosophy.
    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 (...)
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  6. On the Value of Irreplaceable Objects.Robbie Kubala, Harvey Lederman & Adam Lovett - forthcoming - Journal of Philosophy.
    Bradford (2023) calls attention to the fact that the strength of our reasons to preserve distinctively valuable objects increases as the number of such objects decreases. Bradford develops an account of this phenomenon in terms of ‘irreplaceable value’, and in particular in terms of a notion of the degree of such value, which is distinct from its amount. We present an alternative explanation of this pattern in our reasons, which appeals to the value of diversity: the world is better, other (...)
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  7. Aesthetic Ranking: Tomatoes, Parker Points, and Pitchforks.Nick Riggle - forthcoming - Philosophical Topics.
    Despite the sustained social critique of the idea of an aesthetic canon, rankings of aesthetic items are ubiquitous and influential: film rankings, year-end lists, wine scores, album scores, social media about who or what is worse, better, and best. Why do we persist in doing this? Is it legitimate? A glance at some of the more influential ranking systems like Rotten Tomatoes, Pitchfork, and others reveals deep epistemic flaws—they tend to be exclusionary, distorted, or evaluatively opaque. How can we reconcile (...)
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  8. Genres as Rules.Kiyohiro Sen - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    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 (...)
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  9. What is aesthetic value?James Shelley - forthcoming - Philosophical Topics.
    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.
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  10. Bias Reduction as an Aesthetic Norm.Emine Hande Tuna - forthcoming - Philosophical Topics.
    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.
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  11. Why Follow the Score? Aesthetic Normativity in Performing Classical Music and the Genuine Performing Experience.Yili Zhou - forthcoming - British Journal of Aesthetics.
    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 (...)
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  12. Bolzano - Essays on Beauty & the Arts. [REVIEW]K. Chan - 2025 - British Journal of Aesthetics:1-4.
    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 (...)
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  13. How Not to Defend Aesthetic Autonomism.Bahadir Eker - 2025 - Journal of Aesthetics and Art Criticism 83 (1):60-70.
    ABSTRACT Aesthetic autonomism is standardly defined as the view that the aesthetic value of an artwork in no way depends on its moral value, and hence that considerations about the latter are irrelevant to aesthetic evaluation. However, it has recently been argued that definitions along these lines involve certain flaws and that autonomism should be characterized instead as the view that it is rationally permissible not to adjust one’s initial aesthetic judgment about a work in light of how one evaluates (...)
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  14. The Morality and Aesthetics of Personal Beauty.David Friedell & Madeleine Ransom - 2025 - Acta Analytica 40 (2).
    This paper argues that people commonly make moral and aesthetic errors regarding personal beauty. One moral error involves treating people as if their superficial physical beauty is a key source of their value. This practice immorally objectifies people by treating them as aesthetic objects, such as paintings or sunsets, rather than persons. Physical personal beauty is overrated. And even to the extent to which it may be appropriate to appreciate personal beauty, people still commonly make an aesthetic error by treating (...)
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  15. Walking the Path of Taste: On the Kantian Roots of José Vasconcelos’s Aesthetics.Juan Carlos González - 2025 - Journal of Aesthetics and Art Criticism 83 (1):12-27.
    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, (...)
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  16. Reuniting Ethics and Aesthetics: Augustinian and Thomistic Aesthetics and the Buck Passing Account of Aesthetic Value.Pierce Marks - 2025 - Journal for Cultural and Religious Theory 1 (23.2):140-164.
    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 (...)
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  17. Aesthetic Benevolence.Daniel Telech - 2025 - Ratio 38 (1):48-55.
    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 (...)
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  18. A Taste for Habits: On Preference Self-Construction.Emanuele Arielli - 2024 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 17 (1):265-279.
    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 (...)
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  19. Habits, Aesthetics,and Normativity,.Alessandro Bertinetto - 2024 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 17 (1):247-263.
    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 (...)
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  20. Social Aesthetic Goods and Aesthetic Alienation.Anthony Cross - 2024 - Philosophers' Imprint 24.
    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 (...)
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  21. Aesthetic Blame.Robbie Kubala - 2024 - Journal of the American Philosophical Association 10 (4).
    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 (...)
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  22. Bolzano on Aesthetic Normativity.Dominic McIver Lopes - 2024 - British Journal of Aesthetics 64 (2):143-156.
    A theory of aesthetic normativity states what makes it the case that the fact that an item is beautiful is reason to appreciate it. Aesthetic hedonists characteristically hold that the fact that an item is beautiful is reason to appreciate it because anyone always has reason to do what yields pleasure. Bernard Bolzano was an aesthetic hedonist who is best interpreted as offering a mixed theory of aesthetic normativity. The fact that an item is beautiful is reason to appreciate it (...)
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  23. Varieties of Aesthetic Autonomy.Irene Martínez Marín - 2024 - Philosophy Compass 19 (12):e70012.
    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 (...)
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  24. Nuisance de la tragédie. Esthétique de l’émancipation et de la grégarité.Clarisse Michaux & Vivien Giet - 2024 - In Patrick Wotling & Céline Denat, _Nouvelles pistes nietzschéennes. Tendances actuelles de la jeune recherche_. ÉPURE - Éditions et Presses universitaires de Reims. pp. 159-189.
    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 (...)
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  25. The aesthetics of drugs.C. Thi Nguyen - 2024 - In Rob Lovering, The Palgrave Handbook of Philosophy and Psychoactive Drug Use. New York: Palgrave Macmillan.
    The aesthetics of tea, in some practices, seems to focus on appreciating the mental effects of tea — the altered states of mind. Wine aesthetics, on the other hand, seems to actively exclude any inebriative effects. Wine experts are supposed to spit, in order to avoid inebriation when they judge wine. Why? The answer, I suggest, lies deep in several key suppositions in the traditional model of aesthetic experience: that aesthetic experience needs to be accurate of its object, and that (...)
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  26. The Basic Obligation to Not Destroy Heritage.Quince Pan - 2024 - Dissertation, King's College London
    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 (...)
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  27. A twist on the historically authentic musical performance.Nemesio G. C. Puy - 2024 - Philosophical Studies 181 (10).
    According to the mainstream view in the philosophy of music, the only way to authentically perform works of past centuries is according to the ideal of Historically Authentic Performance (HAP). This paper aims to show that, despite recent defences of the mainstream view, it lacks motivation, and hence should be abandoned or revised. As we shall see, first, there is no plausible account of HAP as a final and intrinsic value consistent with the work-focused teleology of work-performance. Second, a plausible (...)
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  28. Autonomy and aesthetic valuing.Nick Riggle - 2024 - Philosophy and Phenomenological Research (I):391-409.
    Accounts of aesthetic valuing emphasize two constraints on the formation of aesthetic belief. We must form our own aesthetic beliefs by engaging with aesthetic value first-hand (the acquaintance principle) and by using our own capacities (the autonomy principle). But why? C. Thi Nguyen’s proposal is that aesthetic valuing has an inverted structure. We often care about inquiry and engagement for the sake of having true beliefs, but in aesthetic engagement this is flipped: we care about arriving at good aesthetic beliefs (...)
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  29. Categorizing Art.Kiyohiro Sen - 2024 - Dissertation, University of Tokyo
    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 (...)
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  30. Knowing When to Stop.Uku Tooming - 2024 - Australasian Journal of Philosophy 102 (1):65-78.
    What are the conditions under which an agent has an aesthetic reason to stop appreciating something? In this paper, I argue that such a reason is dependent not only on the aesthetic properties of the object of appreciation but also on the hedonic state of the agent. Virtuous aesthetic agents who are responsive to aesthetic reasons need to be sensitive to hedonic changes in relation to the object and to recognise when these changes make it appropriate to sever one’s appreciative (...)
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  31. The Demands of Beauty: Kant on the Normative Force of Aesthetic Reasons.Jessica J. Williams - 2024 - Estetika: The European Journal of Aesthetics 61 (1):1-19.
    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 (...)
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  32. Aesthetic selves as objects of interpersonal understanding.Nicholas Wiltsher - 2024 - Philosophical Explorations 27 (2).
    This paper raises puzzles concerning our grasp of others’ aesthetic selves. I first articulate a conception of an aesthetic self, understood as an autonomously adopted orientation to objects of aesthetic value, encompassing the embrace of aesthetic reasons and the qualitative appreciative states that follow. This articulation is motivated by the commonplace observation that people’s aesthetic identities are important to them. Given this importance, we might think it salutary to grasp other people’s aesthetic selves, under the general auspices of ‘interpersonal understanding’. (...)
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  33. The Aesthetic Constitution of Genders.Nicholas Wiltsher - 2024 - Ergo: An Open Access Journal of Philosophy 11:516-548.
    This paper presses the programmatic idea that it is fruitful to think of genders as constituted by aesthetic rational social practices; in particular, that doing so can illuminate the relation between social role and self-identity. The first part of the paper describes rational social practices, and then interprets two social-role approaches to genders in light of that description. The interpretation places the two approaches in different domains of reason, one epistemic, one practical; this makes apparent the conceptual space for a (...)
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  34. Viciousness and the Beautiful Soul: A Critique of McGinn’s Aesthetic Theory of Virtue.Joshua Anderson - 2023 - Humanities Bulletin 6 (1):188196.
    This paper presents a sustained critique of Colin McGinn’s aesthetic theory of virtue. The critique is twofold. First, I demonstrate that there are a number of theoretical flaws which suggest that McGinn’s theory is unable to properly evaluate racist literature. Then, using the novel Frankenstein, I show that, practically, McGinn’s theory incorrectly evaluates problematically racist characters, such as Victor Frankenstein.
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  35. Aesthetic Testimony and Aesthetic Authenticity.Felix Bräuer - 2023 - British Journal of Aesthetics 63 (3):395–416.
    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 (...)
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  36. A Sensible Experientialism?James Grant - 2023 - Philosophy and Phenomenological Research 107 (1):53–79.
    Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...)
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  37. Aesthetic Valuing and the Self.Irene Martínez Marín - 2023 - Dissertation, Uppsala University
    This thesis concerns the relation between aesthetically valuable objects and the agents that aesthetically value them. An investigation is undertaken into the psychology and rationality of such agents. I argue that self-related elements such as emotions and standing value commitments play an irreducible role in successful aesthetic engagement. I further demonstrate that these psychological elements of aesthetic engagement are both self-related and subject to rational constraints. In this connection, I propose a revisionary account according to which valuing agents are subject (...)
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  38. Legislating Taste.Kenneth Walden - 2023 - Philosophical Quarterly 73 (4):1256-1280.
    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 (...)
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  39. Admiration, Appreciation, and Aesthetic Worth.Daniel Whiting - 2023 - Australasian Journal of Philosophy 101 (2):375-389.
    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 (...)
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  40. Does a plausible construal of aesthetic value give us reason to emphasize some aesthetic practices over others?Andrew Wynn Owen - 2023 - Proceedings of the European Society for Aesthetics 15:522-532.
    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 (...)
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  41. In Defence of Tourists.Michel-Antoine Xhignesse - 2023 - Estetika: The European Journal of Aesthetics 60 (2):176-92.
    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 (...)
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  42. The Authoritative Normativity of Fitting Attitudes.Rach Cosker-Rowland - 2022 - Oxford Studies in Metaethics 17:108-137.
    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 (...)
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  43. Aesthetic Commitments and Aesthetic Obligations.Anthony Cross - 2022 - Ergo: An Open Access Journal of Philosophy 8 (38):402-422.
    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 (...)
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  44. Paul Valéry et l'idéal de perfection.Béthuys Elie - 2022 - Klesis 53 (L'esprit de Valéry).
    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 (...)
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  45. Response-Dependence and Aesthetic Theory.Alex King - 2022 - In Chris Howard & Rach Cosker-Rowland, Fittingness. OUP. pp. 309-326.
    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 (...)
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  46. (1 other version)Convergence, Community, and Force in Aesthetic Discourse.Nick Riggle - 2022 - Ergo: An Open Access Journal of Philosophy 8 (47).
    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 (...)
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  47. The Irreducibility of the Human Person: A Catholic Synthesis.Mark K. Spencer - 2022 - Washington, DC, USA: Catholic University of America Press.
    Catholic philosophical anthropologists have defended views of the human person on which we are not reducible to anything non-personal. For example, it is not the case that we are nothing but matter, souls, or parts of society. Nevertheless, most Catholic anthropologies have been reductionistic in other ways. Mark K. Spencer presents a philosophical portrait of human persons on which we are entirely irreducible to anything non-personal, by synthesizing claims from many strands of the Catholic tradition. These include Thomism, Scotism, phenomenology, (...)
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  48. The Normativity of Aesthetic Judgments: Kant’s Development.Robert R. Clewis - 2021 - In Camilla Serck-Hanssen & Beatrix Himmelmann, The Court of Reason: Proceedings of the 13th International Kant Congress. De Gruyter. pp. 1017-1026.
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  49. Harold, James. Dangerous Art: On Moral Criticism of Artworks. [REVIEW]Anthony Cross - 2021 - Journal of Aesthetics and Art Criticism 79 (2):261-264.
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  50. There Are No Purely Aesthetic Obligations.John Dyck - 2021 - Pacific Philosophical Quarterly 102 (4):592-612.
    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 (...)
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