According to a traditional Cartesian epistemology of perception, perception does not provide one with direct knowledge of the external world. Instead, your immediate perceptual evidence is limited to facts about your own visual experience, from which conclusions about the external world must be inferred. Cartesianism faces well-known skeptical challenges. But this chapter argues that any anti-Cartesian view strong enough to avoid these challenges must license a way of updating one’s beliefs in response to anticipated experiences that seems diachronically irrational. To (...) avoid this result, the anti-Cartesian must either license an unacceptable epistemic chauvinism, or else claim that merely reflecting on one’s experiences defeats perceptual justification. This leaves us with a puzzle: Although Cartesianism faces problems, avoiding them brings a new set of problems. (shrink)

Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public (...) philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

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 (...) has rarely examined in depth the ontological structure of art categories, how they are generated and maintained, and how they function. This dissertation fills this gap. The proposal of this dissertation can be summarized as follows. Categories (especially genres) should be analyzed as clusters of rules that regulate the responses and behaviors of agents in the artworld. The visual mundaneness is a critical reason to consider Duchamp's "Comb" (1916) provocative, given the existence of the readymade as a set of rules that justifies such reasoning. The critical and appreciative practice of which categorization is a part is a social practice of making, declaring, proposing, reforming, and developing rules of appreciation. How we appreciate artworks, and how criticism guides our appreciation, is sensitive to how we categorize artworks. How we categorize artworks is sensitive to what categories have been set up in our community and which categories are active regarding each artwork. (shrink)

An important strand in the debate on abortion focuses on the moral status of fetuses. Knowledge of the moral value of fetuses is needed to assess fetuses’ moral status. As Errol Lord argues, acquaintance plays a key role in moral and aesthetic knowledge. Many pregnant persons have acquaintance with their fetus that provides privileged access to knowledge about that fetus’ moral value. This knowledge is (a) very difficult to acquire without being pregnant and (b) relevant for assessing the moral status (...) of fetuses. This has implications for public debate on abortion and the research methods of philosophers working on abortion. (shrink)

Call the view that it is possible to acquire aesthetic knowledge via testimony, optimism, and its denial, pessimism. In this paper, I offer a novel argument for pessimism. It works by turning attention away from the basis of the relevant belief, namely, testimony, and toward what that belief in turn provides a basis for, namely, other attitudes. In short, I argue that an aesthetic belief acquired via testimony cannot provide a rational basis for further attitudes, such as admiration, and that (...) the best explanation for this is that the relevant belief is not itself rational. If a belief is not rational, it is not knowledge. So, optimism is false. After addressing a number of objections to the argument, I consider briefly its bearing on the debate concerning thick evaluative concepts. While the aim is to argue that pessimism holds, not to explain why it holds, I provide an indication in closing of what that explanation might be. (shrink)

Unusability pessimism has recently emerged as an appealing new option for pessimists about aesthetic testimony—those who deny the legitimacy of forming aesthetic beliefs on the basis of testimony. Unusability pessimists argue that we should reject the traditional pessimistic stance that knowledge of aesthetic matters is unavailable via testimony in favour of the view that while such knowledge is available to us, it is unusable. This unusability stems from the fact that accepting such testimony would violate an important non-epistemic norm of (...) belief formation. In this article I present an objection to unusability pessimism and argue that Robert Hopkins, the view's most prominent defender, fails to motivate adequately the claim that there are such non-epistemic belief norms. The cases which putatively legitimize usability norms can be explained by appeal to more familiar norm types: epistemic norms of belief formation, and non-epistemic norms which govern action other than belief formation. The intent of this article is not primarily negative, however, and I will also argue that understanding why the unusability position fails helps us to identify a promising new direction for the pessimist's opponents who wish to defend the legitimacy of forming aesthetic beliefs on the basis of testimony. (shrink)

How do we form aesthetic judgements? And how should we do so? According to a very prominent tradition in aesthetics it would be wrong to form our aesthetic judgements about a particular object on the basis of anything other than first-hand acquaintance with the object itself (or some very close surrogate) and, in particular, it would be wrong to form such judgements merely on the basis of testimony. Further this tradition presupposes that our actual practice of forming aesthetic judgements typically (...) meets, or at least approximates, this ideal. In this paper I target this descriptive claim and argue—by appeal to some empirical work concerning belief polarization and echo chambers in aesthetics—that our actual practice of forming aesthetic judgements is heavily dependent on social sources such as testimony. I then briefly consider what normative implications this descriptive claim may have. (shrink)

You're not as clever as you think you are. Nor for that matter are you as good a driver, teacher or romantic partner as you take yourself to be and, as if that wasn't bad enough, you are also considerably less popular than you have hitherto believed. Finally – and crucially for the argument of this paper – I contend that your abilities as an aesthetic judge are considerably less impressive than you take them to be. To avoid descending into (...) name calling it's worth pointing out that such claims apply to the vast majority of people – myself, somewhat paradoxically, included. (shrink)

An epistemologist tells you that knowledge is more than justified true belief. You trust them and thus come to believe this on the basis of their testimony. Did you thereby come to know that this view is correct? Intuitively, there is something intellectually wrong with forming philosophical beliefs on the basis of testimony, and yet it's hard to see why philosophy should be significantly epistemically different from other areas of inquiry in a way that would fully prohibit belief by testimony. (...) This, I argue, is the puzzle of philosophical testimony. In this paper, I explore the puzzle of philosophical testimony and its ramifications. In particular, I examine the case for pessimism about philosophical testimony—the thesis that philosophical belief on the basis of testimony is impossible or is in some way illegitimate—and I argue that it lacks adequate support. I then consider whether the source of the apparent intellectual wrongness of testimonial‐based philosophical belief is grounded in non‐epistemic norms and goals of philosophical practice itself and argue that such norms are implausible, don't conflict with testimonial‐based philosophical belief, or else are mere disciplinary norms, lacking substantial normative force that would make it wrong to form testimonial‐based philosophical belief. (shrink)

Many philosophers believe that aesthetic testimony can provide aesthetic knowledge. This leaves us with the question: why does getting aesthetic knowledge by experience – by seeing a painting up close, or witnessing a performance first-hand – nevertheless seem superior to aesthetic testimony? I argue that it is due to differences in their epistemic value; in the diversity of epistemic goods each one provides. Aesthetic experience, or the experience of art or other aesthetic objects, affords multiple, distinctive epistemic goods whereas aesthetic (...) testimony affords less. In particular, it provides aesthetic knowledge of truths, a kind of propositional knowledge, as well as aesthetic knowledge of things, a kind of non-propositional knowledge. Although aesthetic experience is superior because it has more epistemic value, this doesn’t mean that aesthetic testimony provides weaker justification for aesthetic belief than aesthetic experience; the difference is evaluative, not normative. In this way, we can explain a key pessimistic intuition about aesthetic testimony – that it is inferior to aesthetic experience – whilst preserving the optimistic view that aesthetic testimony makes aesthetic knowledge available to others. The superior epistemic value of first-hand aesthetic experience is compatible with a number of important observations about aesthetic testimony, including the importance of aesthetic trust. (shrink)

The acquaintance debate in aesthetics has been traditionally divided between pessimists, who argue that testimony does not provide others with aesthetic knowledge of artworks, and optimists, who hold that acquaintance with an artwork is not a necessary precondition for acquiring aesthetic knowledge. In this paper I propose a reconciliationist solution to the acquaintance debate: while aesthetic knowledge can be had via testimony, aesthetic judgment requires acquaintance with the artwork. I develop this solution by situating it within a virtue aesthetics framework (...) based on Ernest Sosa's virtue epistemology. I go on to apply the solution to the debates on moral testimony and expert testimony. An interesting variant on Gettier cases emerges: cases in which subjects have knowledge, but it has been formed by the wrong competence. (shrink)

Current debates in food aesthetics are moving away from a focus on whether food is art, and worries about the subjectivity and objectivity of taste, and towards questions about food's aesthetic properties, the cultural and social significance of food, our modes of aesthetic engagement with food, and issues involving cultural appropriation and the authenticity of dishes.

The question whether there are reasons for loving particular individuals, and what such reasons might be, has been subject to scrutiny in recent years. On one view, reasons for loving particular individuals are some of their qualities. A problem with crude versions of this view, however, is that they both construe individuals as replaceable in a problematic way and fail to do justice to the selectivity of love. On another view, by contrast, reasons for loving particular individuals have to do (...) with our relationship with them. Even if it might accommodate the selectivity of love, the view—like crude quality views—ultimately faces worries stemming from replaceability. I argue for a view which combines the two views in a way that accommodates both the irreplaceable aspect under which individuals are loved and the fact that love is a selective response to them. On my view, reasons for loving particular individuals are some of their qualities as manifested in the context of a relationship with one. After spelling out the view, I discuss an important challenge facing it: what’s so special about actually being in touch—via a relationship—with certain qualities of an individual that would explain why we have special reasons to love them in particular? I consider inadequate answers to this question before putting forward my own. (shrink)

Many philosophers believe that there exist distinctive obstacles to relying on moral testimony. In this paper, I criticize previous attempts to identify these obstacles and offer a new theory. I argue that the problems associated with moral deference can't be explained in terms of the value of moral understanding, nor in terms of aretaic considerations related to subjective integration. Instead, our uneasiness with moral testimony is best explained by our attachment to an ideal of authenticity that places special demands on (...) our moral beliefs. (shrink)

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 (...) interpersonal coordination. Aesthetic practices are driven by a disposition towards the attunement of attitudes and aesthetic recommendations contribute to forwarding such attunement. Our view is motivated by an attempt to satisfy the following set of desiderata: to account for the experiential nature of aesthetic judgments, disagreements in aesthetic debates, and the normative aspirations of aesthetic discourse, as well as to avoid appealing to error theory and realist ontological commitments. (shrink)

This paper is about the similarity between the appreciation of a piece of art, such as a cherished music album, and the loving appreciation of a person whom one knows well. In philosophical discussion about the rationality of love, the Qualities View (QV) says that love can be justified by reference to the qualities of the beloved. I argue that the oft-rehearsed trading-up objection fails to undermine the QV. The problems typically identified by the objection arise from the idea that (...) love-worthy qualities could be coarse-grained, when in fact they must be fine-grained. The analogy with appreciation of aesthetic qualities helps to draw out this point. Once the fine-grained nature of love-worthy qualities is properly understood, it is clear that critics of the QV cannot rely on the trading-up objection to motivate its rejection. Moreover, the paper’s core argument helps to illuminate the persistently aesthetic nature of interpersonal affections. (shrink)

In recent years, two competing methodological frameworks have developed in the study of the epistemology of philosophy. The traditional camp, led by experimental philosophy and its allies, has made inferences about the epistemology of philosophy based on the reactions, or intuitions, people have to works of philosophy. In contrast, multiple authors have followed the lead of Deutsch and Cappelen by setting aside experimental data in favor of inferences based on careful examination of the text of notable works of philosophy. In (...) other words, the debate is split between authors focusing on philosophy’sconsumptionand those focusing on philosophy’sproduction. This paper examines the motivation for focusing on original texts and other evidence of philosophy’s production and finds it lacking. Drawing upon Hills’ distinction between propagation and transmission, I argue that the social epistemology of philosophy does not justify the recent focus on original texts of philosophy. Because the philosophical knowledge of consumers of philosophy is likelyinspiredby producers of philosophy, as opposed to epistemically grounded in the producers’ epistemic states, experimental philosophy had it right all along—if we want to know the epistemic standing of philosophy, we need to look to philosophy’s consumers. (shrink)

When I say “I know Sarah,” or “I know Berlin,” what sort of knowledge am I claiming? Such knowledge of a particular is, I claim, not reducible to either propositional knowledge-that or to traditional physical know-how. Mere, bare knowledge by acquaintance also does not capture the kind of knowledge being claimed here. Using knowledge of a place as my central example, I argue that this kind of knowledge-of, or “objectual knowledge” as it is sometimes called, is of a distinctive epistemological (...) sort. It is a genre of inherently first-personal aesthetic knowledge, but it also, like know-how, involves active skill. I end by exploring a couple of classic problems in aesthetic epistemology, applied to the case of knowledge-of as active aesthetic knowledge. (shrink)

When I say “I know Sarah,” or “I know Berlin,” what sort of knowledge am I claiming? Such knowledge of a particular is, I claim, not reducible to either propositional knowledge-that or to traditional physical know-how. Mere, bare knowledge by acquaintance also does not capture the kind of knowledge being claimed here. Using knowledge of a place as my central example, I argue that this kind of knowledge-of, or “objectual knowledge” as it is sometimes called, is of a distinctive epistemological (...) sort. It is a genre of inherently first-personal aesthetic knowledge, but it also, like know-how, involves active skill. I end by exploring a couple of classic problems in aesthetic epistemology, applied to the case of knowledge-of as active aesthetic knowledge. (shrink)

Rational aesthetic deference becomes apparent when one person’s aesthetic belief gives another person a reason to move his own aesthetic belief in the direction of the other person. It occurs when one person’s aesthetic belief gives another person a normative reason to move your belief in the direction of mine, on epistemic grounds. In such a case, what the first person believes also provides a justification for the second person’s aesthetic belief. This kind of justification is an indirect justification because (...) it is based on reasons that merit deferring to someone else’s judgment, rather than on reasons that support.. (shrink)

Testimony is an important source of our knowledge about the world. But to some, there seems something odd, perhaps even wrong, about trusting testimony about specifically moral matters. In this paper, I discuss several different explanations of what might be wrong with trusting moral testimony. These include the possibility that there is no moral knowledge; that moral knowledge cannot be transmitted by moral testimony; that there are reasons not to trust moral testimony either because you should try to gain and (...) use “moral understanding” to make your moral judgements instead or because doing so is damaging to your moral character in various ways. Finally, I discuss some “debunking explanations” according to which it is right and rational to trust moral testimony from a trustworthy source. © 2013 The Author. Philosophy Compass © 2013 Blackwell Publishing Ltd. (shrink)

Though much of what we learn about the world comes from trusting testimony, the status of aesthetic testimony – testimony about aesthetic value – is equivocal. We do listen to art critics but our trust in them is typically only provisional, until we are in a position to make up our own mind. I argue that provisional trust (but not full trust) in testimony typically allows us to develop and use aesthetic understanding (understanding why a work of art is valuable, (...) or similar); and aesthetic understanding is an essential component of aesthetic virtue. Aesthetic virtue is the orientation of a whole person towards aesthetic value and aesthetic reasons, through action, non‐cognitive and cognitive attitudes. The ideal (aesthetically virtuous) way to make aesthetic judgements is through your own aesthetic understanding. (shrink)

C. Thi Nguyen claims that although we can make aesthetic judgements based on testimony or inference, we resist doing so owing to a contingent norm of our social practice. For Nguyen, aesthetic engagement involves a ‘motivational inversion’ similar to games in which we adopt inefficient means of winning so that we can enjoy the process of playing. Similarly, he says, adopting the norm enables us to engage in the autonomous activity of appreciation. I argue that Nguyen is right that the (...) purpose of our practice is appreciation, but wrong to think any motivational inversion is required in pursuing it. (shrink)

It is widely held within contemporary metaethics that there is a lack of linguistic support for evaluative expressivism. On the contrary, it seems that the predictions that expressivists make about evaluative discourse are not borne out. An instance of this is the so-called problem of missing Moorean infelicity. Expressivists maintain that evaluative statements express non-cognitive states of mind in a similar manner to how ordinary descriptive language expresses beliefs. Conjoining an ordinary assertion that p with the denial of being in (...) the corresponding belief state famously gives rise to Moorean infelicity:?? It’s raining but I don’t believe that it’s raining. If expressivists are right, then conjoining evaluative statements with the denial of being in the relevant non-cognitive state of mind should give rise to similar infelicity. However, as several theorists have pointed out, this does not seem to be the case. Statements like the following are not infelicitous: Murder is wrong but I don’t disapprove of it. In this paper, I argue that evaluative statements express the kind of states that are attributed by ‘find’-constructions in English and that these states are non-cognitive in nature. This addresses the problem of missing Moorean infelicity and, more generally, goes to show that there are linguistic facts which support expressivism about evaluative discourse. (shrink)

ABSTRACT In recent experimental work, the spectrum-like nature of the phenomenon of ordering subjectivity has been accounted for by recourse to the distinction, within the class of subjective adjectives, between multi-dimensional and judge-dependent ones. One way to cash out judge-dependency is in terms of some kind of experiencer-sensitivity. In this paper, we argue that this approach is insufficient. Applying Solt’s experimental paradigm to moral adjectives suggests that, within the class of judge-dependent adjectives, one must draw a further distinction between experiential (...) and evaluative adjectives. This opens up the question of what, if anything, characterizes judge-dependency. We propose that judge-dependency is characterized by the notion of holistic multi-dimensionality: a predicate is holistically multidimensional just in case its denotation is composed by various dimensions whose contribution is inseparable. (shrink)

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 (...) spontaneously treat aesthetic judgments as having intersubjective validity? In this paper, we report the results of a cross‐cultural study with over 2,000 respondents spanning 19 countries. Despite significant geographical variations, these results suggest that most people do not treat their own aesthetic judgments as having intersubjective validity. We conclude by discussing the implications of our findings for theories of aesthetic judgment and the purpose of aesthetics in general. (shrink)

ABSTRACT The paper proposes that the distinctive features of aesthetic assertion are due to a special norm governing such assertion rather than any semantic features of aesthetic predication. The norm is elaborated as a reading of Kant’s analysis of aesthetic judgment. Apart from the proposed norm capturing various features of aesthetic assertion, it is supported by various linguistic considerations that point to the semantic profile of predicates of personal taste and aesthetic predicates being in fact alike with respect to the (...) role of a judge or experiencer in the interpretation of the respective kinds of assertions. The difference between the two, therefore, must have a different source than the understood role of an agent, viz. the advertised norm. In particular, it is argued that the role of an explicit agent in both predicates acts to signal a presupposition of another agent having a different experience or judgment from the speaker rather than an articulation of the content of the predicate itself or a determination of its truth value. (shrink)

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 (...) seems problematic because we are attached to an ideal of aesthetic authenticity and feel that living up to this ideal is anathema to simply relying on aesthetic testimony. (shrink)

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.

Is there a problem with believing based on moral testimony? The intuition that there is a problem is a starting point for much research on moral testimony. To arbitrate between various attempts to account for intuitions about moral testimony, we need to know the exact nature of those intuitions. The current study investigates this empirically. The study confirms an asymmetry in the way we think about testimony about moral and descriptive matters and explores the extent to which this asymmetry is (...) explained by different metaphysical beliefs about the relevant domains, or beliefs about the relative background levels of deception or disagreement. (shrink)

There is something peculiar about aesthetic testimony. It seems more difficult to gain knowledge of aesthetic properties based solely upon testimony than it is in the case of other types of property. In this paper, I argue that we can provide an adequate explanation at the level of the semantics of aesthetic language, without defending any substantive thesis in epistemology or about aesthetic value/judgement. If aesthetic predicates are given a non-invariantist semantics, we can explain the supposed peculiar difficulty with aesthetic (...) testimony. (shrink)

In this paper, I develop an account of appreciation. I argue that appreciation is an epistemic emotion in which the subject grasps the object in an affective way. The “grasping” and “feeling” components implies that in appreciation, we make sense of the object by having cognitive control over it, are motivated to maintain the valuable epistemic state of understanding, and experience the “aha” or “eureka” moment. This account offers a unified account of the many types of appreciation, including the aesthetic, (...) the moral, and the epistemic. In all these cases, appreciation requires some other first-order emotions as prerequisite. (shrink)

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, (...) the answer must be Yes. I then show why this matters for the broader discussion of the puzzle(s) posed by deference to moral and aesthetic testimony. (shrink)

Many have offered moral objections to video games, with various critics contending that they depict and promote morally dubious attitudes and behaviour. However, few have offered moral arguments in favour of video games. In this chapter, we develop one such positive moral argument. Specifically, we argue that video games offer one of the only morally acceptable methods for acquiring some ethical knowledge. Consequently, we have (defeasible) moral reasons for creating, distributing, and playing certain morally educating video games.

This thesis engages with three topics and the relationships between them: (i) the phenomenon of disagreement (paradigmatically, where one person makes a claim and another denies it); (ii) the normative character of disagreements (the issue of whether, and in what sense, one of the parties is “at fault” for believing something that’s untrue); (iii) the issue of which theory of what truth is can best accommodate the norms relating belief and truth. People disagree about all sorts of things: about whether (...) climate is changing, death penalty is wrong, sushi is delicious, or Louis C.K. is funny. However, even focusing on disagreements in the evaluative domain (e.g., taste, moral and comedic), where people have the intuition that there is ‘no fact of the matter’ about who is right, there are significant differences that require explanation. For instance, disagreement about taste is generally perceived as shallow. People accept to disagree and live comfortably with that fact. By contrast, moral disagreement is perceived as deep and sometimes hard to tolerate. Comedic disagreement is similar to taste. However, it may involve an element of ‘intellectual snobbery’ that is absent in taste disagreement. The immediate questions are whether these contrasts allow of precise characterization and what is responsible for them. I argue that, once a case is made for the truth-aptness of judgments in these areas, the contrast can be explained in terms of variable normative function of truth – as exerting a lightweight normative constraint in the domain of taste and a stricter constraint in the moral domain. In particular I claim that while truth in the moral domain exerts a sui generis deontic control, this normative feature of truth is silent in both the taste and the comedic domains. This leads me to investigate how to conceive of truth in the light of normative variability. I argue that an amended version of deflationism – minimally inflated deflationism – can account for the normative variability of truth. (shrink)

I propose that artworks represent a specific and homogeneous ontological kind, grounded in a common ontological core. I call this common core ‘non-universalizable embodied meaning’, and I argue that this common core explains how artworks unfold their ontological identity at the physical, intentional, and social levels on the basis of an original and irreducible mode of material embodiment and cultural emergence; this common core functions as the constitutive rule of art and institutes an axiological normativity, that is, normativity based on (...) aesthetic value; it has a central role both in the theoretical definition of art and in the identification, recognition, and fruition of the individual artworks; it enables artistic creativity, historical transformations of art, and the current, multifaceted state of art. (shrink)