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

What does it mean that an object has instrumental value? While some writers seem to think it means that the object bears a value, and that instrumental value accordingly is a kind of value, other writers seem to think that the object is not a value bearer but is only what is conducive to something of value. Contrary to what is the general view among philosophers of value, I argue that if instrumental value is a kind of value, then it (...) is a kind of extrinsic final value. (shrink)

What does it mean that an object has instrumental value? While some writers seem to think it means that the object bears a value, and that instrumental value accordingly is a kind of value, other writers seem to think that the object is not a value bearer but is only what is conducive to something of value. Contrary to what is the general view among philosophers of value, I argue that if instrumental value is a kind of value, then it (...) is a kind of extrinsic final value. (shrink)

Art theory has consistently emphasised the importance of situational, cultural, institutional and historical factors in viewers’ experience of fine art. However, the link between this heavily context-dependent interpretation and the workings of the mind is often left unexamined. Drawing on relevance theory—a prominent, cogent and productive body of work in cognitive pragmatics—we here argue that fine art achieves its effects by prompting the use of cognitive processes that are more commonly employed in the interpretation of words and other stimuli presented (...) in a communicative context. We describe in particular how institutional factors effectively co-opt these processes for new ends, allowing viewers to achieve cognitive effects that they otherwise would not, and so provide cognitivist backing for an Institutional Theory of Art, such as that put forward by Arthur Danto. More generally, we situate and describe the Western fine art tradition as a phenomenon that is a consequence of both the cognitive processes involved in communication, and of cultural norms, practices and institutions. (shrink)

When one visits Thailand, one is struck by the enormous number of temples in the urban Bangkok area, many of which are conspicuously absent from the more cherished art historical works on the art and architecture of south-east Asia. The Wat Po complex and Wat Reitmit, one discovers, whatever their virtues for the Western tourist, are not among the temples and archaeological sites mentioned in the text of such an authority as Benjamin Rowland. Nor are these temples—when cited at all—discussed (...) in the same vein as, for example, the Konarak temples of Orissa , where at least some veneration is paid to the plasticity of the carving in its depiction of sexual variety, even if the depictions themselves were at one time held to possess little or no intrinsic merit as pieces of sculpture. (shrink)

In this paper, I critically examine Myles Brand’s criticisms of what he calls the Standard View of the role and value of intercollegiate athletics. According to Brand, the Standard View, held by most faculty members, undervalues college sports and should be replaced by the Integrated View that properly stresses the educational value of participating in athletics. I claim that Brand’s analogical argument has a variety of problems. I show that Brand’s conclusion, derived from his attempt to compare the experiences of (...) student-musicians and student-athletes is unpersuasive, yet his argument forces us to confront persistent and important questions about liberal arts education and the role and value of the arts, especially music, in higher education. (shrink)

This article discusses how museum settings can provide opportunities for sensory and aesthetic encounters and learning. It draws on research into museum education programmes that included examinations of curatorial construction and display, observations of teaching and open-ended interviews with museum educators. The examples selected here focus on themes of display and learning to illustrate how aesthetic experiences can emerge as incidental adjuncts to learning in other fields. They also acknowledge how museums draw on aesthetic judgements to categorise or present objects (...) and employ aesthetic artefacts and practices as representative devices of cultural engagement, especially in learning themes in the humanities. The studies show how museums can offer opportunities and skills, and cultivate dispositions to the examination of challenging ideas about aesthetic status, sensibility, interpretation or value. Examples of purposefully constructed sites for aesthetic learning show how museum educators have rethought ways of facilitating affective sensory experiences, and raising questions of aesthetic status, response and the social and cultural functions of the arts. The studies discussed here suggest that museums can provide dedicated opportunities to cultivate independent aesthetic thinking and debate about aesthetic ideas as lifelong skills and pleasures. (shrink)

My starting point is that discussions in philosophy about the ontology of technical artifacts ought to be informed by classificatory practices in engineering. Hence, the heuristic value of the natural-artificial distinction in engineering counts against arguments which favour abandoning the distinction in metaphysics. In this chapter, I present the philosophical equipment needed to analyse classificatory practices and then present a case study of engineering practice using these theoretical tools. More in particular, I make use of the Collectivist Account of Technical (...) Artifacts (CAT) according to which there are different classificatory practices for natural, artificial, and social objects. I demonstrate that in the community studied, artificial kinds are marked by distinctive classificatory practices. The presence of these distinctive classificatory practices in engineering with regard to artificial kinds should inform discussions about the ontology of technical artifacts just as the distinctive classificatory practices in natural science inform discussions about natural kinds. (shrink)