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  1. Counterfactual Reasoning in Art Criticism.Angela Sun - forthcoming - Journal of Aesthetics and Art Criticism.
    When we evaluate artworks, we often point to what an artist could have done or what a work could have been in order to say something about the work as it actually is. Call this counterfactual reasoning in art criticism. On my account, counterfactual claims about artworks involve comparative aesthetic judgments between actual artworks and hypothetical variations of those works. The practice of imagining what an artwork could have been is critically useful because it can help us understand how artworks (...)
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  • Aesthetic Realism and Manifest Properties.Andrea Sauchelli - 2022 - Journal of Aesthetics and Art Criticism 80 (2):201-213.
    This article outlines a realist theory of aesthetic properties as higher-order manifest properties and defends it from several objections, including a possible conflict with contextualist approaches to the aesthetic properties of works of art.
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  • Further Exploration of Anti-Realist Intuitions About Aesthetic Judgment.James Andow - forthcoming - Philosophical Psychology:1-41.
  • Companions in Guilt Arguments.Christopher Cowie - 2018 - Philosophy Compass 13 (11):e12528.
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  • Reasons, Normativity, and Value in Aesthetics.Alex King - 2022 - Philosophy Compass 17 (1):1-17.
    Discussions of aesthetic reasons and normativity are becoming increasingly popular. This piece outlines six basic questions about aesthetic reasons, normativity, and value and discusses the space of possible answers to these questions. I divide the terrain into two groups of three questions each. First are questions about the shape of aesthetic reasons: what they favour, how strong they are, and where they come from. Second are relational questions about how aesthetic reasons fit into the wider normative landscape: whether they are (...)
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  • How to Be an Aesthetic Realist.Elizabeth Tropman - 2022 - Ratio 35 (1):61-70.
    This paper develops a form of realism about aesthetics that is stronger than typical versions of aesthetic realism. As I conceive of it, aesthetic realism is the view that there are some response-independent aesthetic facts. This kind of realism is unpopular in aesthetics and is often viewed as a non-starter. Against this pessimism, I argue that the prospects for this realist approach are more favorable than commonly supposed. I offer some reasons to prefer my brand of aesthetic realism to competing (...)
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  • Cavendish's Aesthetic Realism.Daniel Whiting - forthcoming - Philosophers' Imprint.
    In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...)
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  • Between Nature and Naturalism: A Critical Engagement with the Natural Environmental Model of Aesthetics.Beatrice Beressi - 2020 - Heythrop Journal 61 (5):737-748.
  • 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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  • Approving on the Basis of Moral and Aesthetic Testimony.Daniel Wodak - forthcoming - Oxford Studies in Metaethics.
    If a reliable testifier tells you that a song is beautiful or that an act is wrong, do you thereby have a reason to approve of the painting and disapprove of the agent's action? Many insist that we don’t: normative testimony does not give us reasons for affective attitudes like approval. This answer is often treated as a datum in the literatures on moral and aesthetic testimony. I argue that once we correct for a common methodological mistake in these literatures, (...)
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  • 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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  • Moral Realism and Expert Disagreement.Prabhpal Singh - 2020 - Trames: A Journal of the Humanities and Social Sciences 24 (3):441-457.
    SPECIAL ISSUE ON DISAGREEMENTS: The fact of moral disagreement is often raised as a problem for moral realism. The idea is that disagreement amongst people or communities on moral issues is to be taken as evidence that there are no objective moral facts. While the fact of ‘folk’ moral disagreement has been of interest, the fact of expert moral disagreement, that is, widespread and longstanding disagreement amongst expert moral philosophers, is even more compelling. In this paper, I present three arguments (...)
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  • The Self-Effacement Gambit.Jack Woods - 2019 - Res Philosophica 96 (2):113-139.
    Philosophical arguments usually are and nearly always should be abductive. Across many areas, philosophers are starting to recognize that often the best we can do in theorizing some phenomena is put forward our best overall account of it, warts and all. This is especially true in esoteric areas like logic, aesthetics, mathematics, and morality where the data to be explained is often based in our stubborn intuitions. -/- While this methodological shift is welcome, it's not without problems. Abductive arguments involve (...)
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  • Really Boring Art.Andreas Elpidorou & John Gibson - forthcoming - Ergo: An Open Access Journal of Philosophy.
    There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...)
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  • Aesthetic Properties, Mind-Independence, and Companions in Guilt.Daan Evers - 2019 - In Richard Rowland & Christopher Cowie (eds.), Companions in Guilt Arguments in Metaethics. Routledge.
    I first show how one might argue for a mind-independent conception of beauty and artistic merit. I then discuss whether this makes aesthetic judgements suitable to undermine skeptical worries about the existence of mind-independent moral value and categorical reasons.
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