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  1. Social Aesthetic Goods and Aesthetic Alienation.Anthony Cross - forthcoming - Philosophers' Imprint.
    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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  2. 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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  3. Aesthetic Blame.Robbie Kubala - forthcoming - Journal of the American Philosophical Association:1-17.
    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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  4. Schiller on Freedom and Aesthetic Value Part 2.Nick Riggle & Samantha Matherne - forthcoming - British Journal of Aesthetics.
    In his Letters on the Aesthetic Education of Man (1795), Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, “it is only through beauty that man makes his way to freedom.” However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only (...)
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  5. Knowing When to Stop.Uku Tooming - forthcoming - Australasian Journal of Philosophy:1-14.
    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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  6. The Demands of Beauty: Kant on the Normative Force of Aesthetic Reasons.Jessica J. Williams - forthcoming - Estetika: The Central European Journal of Aestetics 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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  7. Bolzano on Aesthetic Normativity.Dominic McIver Lopes - 2024 - British Journal of Aesthetics 64.
    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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  8. 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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  9. 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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  10. Response-Dependence and Aesthetic Theory.Alex King - 2023 - In Chris Howard & R. A. Rowland (eds.), Fittingness. Oxford: 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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  11. 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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  12. 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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  13. 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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  14. 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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  15. 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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  16. The Authoritative Normativity of Fitting Attitudes.R. A. 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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  17. 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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  18. The Normativity of Aesthetic Judgments: Kant’s Development.Robert R. Clewis - 2021 - In Camilla Serck-Hanssen & Beatrix Himmelmann (eds.), The Court of Reason: Proceedings of the 13th International Kant Congress. De Gruyter. pp. 1017-1026.
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  19. 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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  20. 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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  21. Critique of the Power of Judgment in the Context of Art’s Technological Reproducibility.Markéta Jakešová - 2021 - In Camilla Serck-Hanssen & Beatrix Himmelmann (eds.), The Court of Reason: Proceedings of the 13th International Kant Congress. De Gruyter. pp. 1067-1074.
    One of the less comprehensible passages in Immanuel Kant’s Critique of the Power of Judgment is paragraph 9 (KU, AA 5: 216 – 219) where the author rhetorically asks: when we perform a pure judgment of taste, does taking pleasure in a beautiful object come first and only then does (any) aesthetic judgment follow or is it the other way around? The partial conclusions from elaborating this question will then be used to support my assumption that art can be used (...)
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  22. Aesthetic practices and normativity.Robbie Kubala - 2021 - Philosophy and Phenomenological Research 103 (2):408–425.
    What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are explained by norms internal (...)
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  23. Précis of Being for Beauty: Aesthetic Agency and Value.Dominic McIver Lopes - 2021 - Philosophy and Phenomenological Research 102 (1):209-213.
    One question that leads us into aesthetics is: why does beauty matter? Or, what do aesthetic goods bring to my life, to make it a life that goes well? Or, how does beauty deserve the place we have evidently made for it in our lives? A theory of aesthetic value states what beauty is so as to equip us to answer this question. According to aesthetic hedonism, aesthetic values are properties of items that stand in constitutive relation to pleasure. Contemporary (...)
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  24. Beyond the Pleasure Principle: A Kantian Aesthetics of Autonomy.Dominic McIver Lopes - 2021 - Estetika: The European Journal of Aesthetics 58 (1):1-18.
    Aesthetic hedonism is the view that to be aesthetically good is to please. For most aesthetic hedonists, aesthetic normativity is hedonic normativity. This paper argues that Kant's third critique contains resources for a non-hedonic account of aesthetic normativity as sourced in autonomy as self-legislation. A case is made that the account is also Kant's because it ties his aesthetics into a key theme of his larger philosophy.
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  25. Normativity, Agency, and Value: A View from Aesthetics.Dominic McIver Lopes - 2021 - Philosophy and Phenomenological Research 102 (1):232-242.
    Being for Beauty has two ambitions. It makes a case that the network theory of aesthetic value has enough going for it to be taken seriously in philosophical aesthetics, and in work on practical values and reasons more generally. In addition, by illustrating how much room we have to maneuver outside the bounds of aesthetic hedonism, the book invites work on alternative approaches. James Shelley, Julia Driver, and Samantha Matherne take up the invitation with such aplomb that one might declare (...)
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  26. Aesthetic normativity and the expressive perception of nature.Francisca Pérez-Carreño - 2021 - Studi di Estetica 19.
    The notion of a correct appreciation of nature, like the one put forward in Carlson’s environmental account, has been rejected by many other authors in the aesthetics of the natural environment. Their critics challenge the idea that only scientific cat- egories can ground the aesthetic appreciation of nature as nature, and they hold that there is not a correct way of appreciating nature. However, they may share with Carlson the idea of correctness under an objectivist paradigm of aesthetic appreciation, according (...)
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  27. Convergence, Community, and Force in Aesthetic Discourse.Nick Riggle - 2021 - 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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  28. The Arbitrariness of Aesthetic Judgment.David Sackris - 2021 - Journal of Value Inquiry 55 (4):625-646.
    Realists about aesthetic judgment believe something like the following: for an aesthetic judgment of be correct, it must respond to the intrinsic aesthetic properties possessed by the object in question (e.g., Meskin et al., 2013; Kieran 2010). However, Cutting’s (2003) empirical research on aesthetic judgment puts pressure on that position. His work indicates that unconscious considerations extrinsic to an artwork can underpin said judgements. This paper takes Cutting’s conclusion a step further: If philosophers grant that it’s possible to appreciate artwork (...)
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  29. Aesthetic Reasons and the Demands They (Do Not) Make.Daniel Whiting - 2021 - Philosophical Quarterly 71 (2):407-427.
    What does the aesthetic ask of us? What claims do the aesthetic features of the objects and events in our environment make on us? My answer in this paper is: that depends. Aesthetic reasons can only justify feelings – they cannot demand them. A corollary of this is that there are no aesthetic obligations to feel, only permissions. However, I argue, aesthetic reasons can demand actions – they do not merely justify them. A corollary of this is that there are (...)
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  30. Making Sorrow Sweet: Emotion and Empathy in the Experience of Fiction. In A. Houen (Ed.), Affect and Literature (Cambridge Critical Concepts, pp. 190-210). Cambridge: Cambridge University Press. doi:10.1017/9781108339339.011.A. E. Denham, A. E. Denham & A. Denham - 2020 - In Denham, A. (2020). Making Sorrow Sweet: Emotion and Empathy in the Experience of Fiction. In A. Houen (Ed.), Affect and Literature (Cambridge Critical Concepts, pp. 190-210). Cambridge: Cambridge University Press. doi:10.1017/9781108339339.011. Cambridge, UK: pp. 190-210.
    The nature and consequences of readers’ affective engagement with literature has, in recent years, captured the attention of experimental psychologists and philosophers alike. Psychological studies have focused principally on the causal mechanisms explaining our affective interactions with fictions, prescinding from questions concerning their rational justifiability. Transportation Theory, for instance, has sought to map out the mechanisms the reader tracks the narrative experientially, mirroring its descriptions through first-personal perceptual imaginings, affective and motor responses and even evaluative beliefs. Analytical philosophers, by contrast, (...)
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  31. Aesthetic Normativity and Knowing How to Go On.Hannah Ginsborg - 2020 - Con-Textos Kantianos 1 (12):52-70.
    This paper addresses a problem about aesthetic normativity raised by Kant. Can aesthetic experiences be appropriate or inappropriate to their objects? And, if so, how is that possible given that, according to Kant, aesthetic experience is not objective? Kant thought the answer to the first question was yes. But his official answer to the second question, in terms of the free play of the faculties, is obscure. The paper offers a clearer answer, inspired by Kant, which invokes Wittgenstein’s notion of (...)
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  32. Art and Achievement.James Grant - 2020 - Philosophical Studies 177 (9):2517-2539.
    An increasingly popular view in the philosophy of art is that some artworks are good artworks at least partly because they are achievements. This view was introduced to explain why two works that look the same, such as an original painting and a perfect copy, can differ in artistic merit. An achievement theory can say that the original is better because it is a greater achievement. Achievement theories have since been used to answer other questions, and they are now a (...)
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  33. Aesthetic obligations.Robbie Kubala - 2020 - Philosophy Compass 15 (12):e12712.
    Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, social practices, and aesthetic value primitivism. I conclude (...)
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  34. From Aesthetics to Ethics: The Place of Delight in Confucian Ethics.Andrew Lambert - 2020 - Journal of Chinese Philosophy 47 (3-4):154-173.
    An exploration of the role of pleasure or delight (le樂) in classical Confucian ethics. Building on Michael Nylan's account of the role of pleasure in public spectacle and social order, I explore how the meaning of delight (le樂) derives from the features and effects of music (yue樂). Drawing on Dewey's aesthetics and accounts of music in Confucian texts, I explore a conception of Confucian ethics, in which delight—like states generated through everyday social interaction are foundational.
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  35. Schiller on Freedom and Aesthetic Value: Part I.Samantha Matherne & Nick Riggle - 2020 - British Journal of Aesthetics 60 (4):375-402.
    In his Letters on the Aesthetic Education of Man, Friedrich Schiller draws a striking connection between aesthetic value and individual and political freedom, claiming that, ‘it is only through beauty that man makes his way to freedom’. However, contemporary ways of thinking about freedom and aesthetic value make it difficult to see what the connection could be. Through a careful reconstruction of the Letters, we argue that Schiller’s theory of aesthetic value serves as the key to understanding not only his (...)
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  36. Cultural appropriation and aesthetic normativity.Phyllis Pearson - 2020 - Philosophical Studies 178 (4):1285-1299.
    Is it ever aesthetically permissible to engage in acts of cultural appropriation? This paper shows how recent work on aesthetic normativity can help answer this question. Drawing on the work of Lopes and McGonigal, I argue that in many cases those who engage in cultural appropriation act against their aesthetic reasons. Lopes and McGonigal advocate for externalist accounts of aesthetic reasons according to which whether or not an agent has an aesthetic reason to act depends on whether or not their (...)
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  37. Why Play the Notes? Indirect Aesthetic Normativity in Performance.Guy Rohrbaugh - 2020 - Australasian Journal of Philosophy 98 (1):78-91.
    While all agree that score compliance in performance is valuable, the source of this value is unclear. Questions about what authenticity requires crowd out questions about our reasons to be compliant in the first place, perhaps because they seem trivial or uninteresting. I argue that such reasons cannot be understood as ordinary aesthetic, instrumental, epistemic, or moral reasons. Instead, we treat considerations of score compliance as having a kind of final value, one which requires further explanation. Taking as a model (...)
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  38. Aesthetic Hedonism and Its Critics.Servaas Van der Berg - 2020 - Philosophy Compass 15 (1):e12645.
    This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...)
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  39. Is There a Problem of Writing in Historiography? Plato and the pharmakon of the Written Word.Natan Elgabsi - 2019 - Metodo. International Studies in Phenomenology and Philosophy 7 (2):225-264.
    This investigation concerns first what Jacques Derrida and Paul Ricœur consider to be «the question of writing» in Plato’s Phaedrus, and then whether their conception of a general philosophical problem of writing finds support in the dialogue. By contrast to their attempts to «determine» the «status» of writing as the general condition of knowledge, my investigation has two objections. (1) To show that Plato’s concern is not to define writing, but to reflect on what is involved in honest and dishonest (...)
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  40. On Liking Aesthetic Value.Keren Gorodeisky - 2019 - Philosophy and Phenomenological Research 102 (2):261-280.
    According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...)
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  41. De Gustibus: Arguing about Taste and Why We Do It By Peter Kivy. [REVIEW]Eileen John - 2019 - Analysis 79 (3):581-583.
    De Gustibus: Arguing about Taste and Why We Do It By KivyPeterOxford University Press, 2015. xii + 174 pp.
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  42. Dominic McIver Lopes, Being for Beauty: Aesthetic Agency and Value[REVIEW]Robbie Kubala - 2019 - Estetika: The European Journal of Aesthetics 56 (2):250-262.
    A review of Dominic McIver Lopes’s Being for Beauty: Aesthetic Agency and Value.
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  43. The Biology of Art.Richard A. Richards - 2019 - Cambridge University Press.
    Biological accounts of art typically start with evolutionary, psychological or neurobiological theories. These approaches might be able to explain many of the similarities we see in art behaviors within and across human populations, but they don't obviously explain the differences we also see. Nor do they give us guidance on how we should engage with art, or the conceptual basis for art. A more comprehensive framework, based also on the ecology of art and how art behaviors get expressed in engineered (...)
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  44. Meriting a Response: The Paradox of Seductive Artworks.Nils-Hennes Stear - 2019 - Australasian Journal of Philosophy 97 (3):465-482.
    According to what I call the Merit Principle, roughly, works of art that attempt to elicit unmerited responses fail on their own terms and are thereby aesthetically flawed. A horror film, for instance, that attempts to elicit fear towards something that is not scary is to that extent aesthetically flawed. The Merit Principle is not only intuitive, it is also endorsed in some form by Aristotle, David Hume, and numerous contemporary figures. In this paper, I show how the principle leads (...)
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  45. Wittgenstein on aesthetic normativity and grammar.Hanne Appelqvist - 2018 - In David G. Stern (ed.), Wittgenstein in the 1930s: Between the Tractatus and the Investigations. Cambridge University Press.
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  46. Beyond the Call of Beauty: Everyday Aesthetic Demands Under Patriarchy.Alfred Archer & Lauren Ware - 2018 - The Monist 101 (1):114-127.
    This paper defends two claims. First, we will argue for the existence of aesthetic demands in the realm of everyday aesthetics, and that these demands are not reducible to moral demands. Second, we will argue that we must recognise the limits of these demands in order to combat a widespread form of gendered oppression. The concept of aesthetic supererogation offers a new structural framework to understand both the pernicious nature of this oppression and what may be done to mitigate it.
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  47. The Analogical 'Ought' of Taste.José Luis Fernández - 2018 - In Margit Ruffing Violetta L. Waibel (ed.), Natur und Freiheit: Akten des XII. Internationalen Kant-Kongresses. Berlin: De Gruyter. pp. 2997-3004.
    In the Critique of the Power of Judgment, Immanuel Kant argues that when we form a judgment of taste, the representation goes together with a demand that we require others to share. Some commentators note that the aesthetic feeling in a judgment of taste and its expectant universality seems to display a normative necessity in the explicit judgment itself, and that the expression of this normative component is sometimes stated as a claim to which everyone ought to conform. In this (...)
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  48. Aesthetic Evaluation and First-Hand Experience.Nils Franzén - 2018 - Australasian Journal of Philosophy 96 (4):669-682.
    ABSTRACTEvaluative aesthetic discourse communicates that the speaker has had first-hand experience of what is talked about. If you call a book bewitching, it will be assumed that you have read the book. If you say that a building is beautiful, it will be assumed that you have had some visual experience with it. According to an influential view, this is because knowledge is a norm for assertion, and aesthetic knowledge requires first-hand experience. This paper criticizes this view and argues for (...)
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  49. Rationally Agential Pleasure? A Kantian Proposal.Keren Gorodeisky - 2018 - In Lisa Shapiro (ed.), Pleasure: a History. Oxford University Press. pp. 167-194.
    The main claim of the paper is that, on Kant's account, aesthetic pleasure is an exercise of rational agency insofar as, when proper, it has the following two features: (1) It is an affective responsiveness to the question: “what is to be felt disinterestedly”? As such, it involves consciousness of its ground (the reasons for having it) and thus of itself as properly responsive to its object. (2) Its actuality depends on endorsement: actually feeling it involves its endorsement as an (...)
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  50. Grounding Aesthetic Obligations.Robbie Kubala - 2018 - British Journal of Aesthetics 58 (3):271-285.
    Many writers describe a sense of requirement in aesthetic experience: some aesthetic objects seem to demand our attention. In this paper, I consider whether this experienced demand could ever constitute a genuine normative requirement, which I call an aesthetic obligation. I explicate the content, form, and satisfaction conditions of these aesthetic obligations, then argue that they would have to be grounded neither in the special weight of some aesthetic considerations, nor in a normative relation we bear to aesthetic objects as (...)
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