Online research in philosophy

Simon Blackburn defends a 'quasi-realist' view intended to preserve much of what realists want to say about moral discourse. According to error theory, moral discourse is committed to indefensible metaphysical assumptions. Quasi-realism seems to preserve ontological frugality, attributing no mistaken commitments to our moral practices. In order to make good this claim, quasi-realism must show that (a) the seemingly realist features of the 'surface grammar' of moral discourse can be made compatible with projectivism; and (b) certain realist-sounding statements which we might use in describing the nature of our moral commitments can be understood in projectivist terms. Much attention has been devoted to whether quasi-realism can deliver (a). I raise an important difficulty with regard to (b).

Expressivism's problem in solving the Frege/Geach problem concerning unasserted contexts is evaluated in the light of Blackburn's own methodological commitment to assessing philosophical theories in terms of costs and benefits, notably quasi-realism's aim of minimising the ontological commitments of a broadly naturalistic worldview. The problem emerges when a competitor theory can explain the same phenomena at lower cost: the minimalist about truth has no problem with unasserted contexts whereas the quasi-realist/expressivist package does. However, this form of projectivism is supposed to be a local and contrastive thesis or the central metaphor of projection makes no sense. So in competition with minimalism, projectivism must - at least for non-contested areas of thought and language - presuppose non-minimal truth. This casts new light on Blackburn's proposal globally to revise the relations between logic and truth so as to model ethical discourse as tracking a notion of commitment to contents that can be either attitudinal or truh evaluable. Why globally revise logic, in order solely to explain the problem of unasserted contexts, when a rival view can do so much better according to the standards set by the quasi-realist? Why do so when a notion of non-minimal truth and a classical explanation of logic are already available to you, given the local and contrastive claims of quasi-realism?

In this paper I explore the following threefold question: first, is there a genuine problem of grounding aesthetic judgement in testimony? Second, if there is such a problem, what exactly is its nature? And lastly, can Kant help us get clearer on the problem? Following Kant, I argue that the problem with aesthetic testimony is explained by norms that govern what it takes to judge a beautiful object aesthetically, rather than theoretically or practically, not by norms that govern what it takes to judge aesthetically with a sufficient epistemic basis rather than without it. I thus propose a normative and aesthetic approach to testimony.

Expressivists, such as Blackburn, analyse sentences such as 'S thinks that it ought to be the case that p' as S hoorays that p'. A problem is that the former sentence can be negated in three different ways, but the latter in only two. The distinction between refusing to accept a moral judgement and accepting its negation therefore cannot be accounted for. This is shown to undermine Blackburn's solution to the Frege-Geach problem.

Introduction -- Aesthetic judgements, aesthetic principles, and aesthetic properties -- Aesthetic essence -- The acquaintance principle -- The intersubjective validity of aesthetic judgements -- The pure judgement of taste as an aesthetic reflective judgement -- Understanding music -- The characterization of aesthetic qualities by essential metaphors and quasi-metaphors -- Musical movement and aesthetic metaphors -- Aesthetic realism and emotional qualities of music -- On looking at a picture -- The look of a picture -- Wollheim on correspondence, projective properties, and expressive perception -- Wittgenstein on aesthetics.

In recent work, Robert Hopkins has argued that aesthetic judgements are autonomous. When a subject finds herself diverging in judgement from a group of others who, while independently applying the same method, have come to some opposing conclusion, then for ordinary empirical matters this is often reason enough for her to suspend judgement, or even to adopt their view, but this happens much more rarely in the case of beauty. Moreover, the opposing view does not act as a defeater to her belief to the same extent as it does in the empirical case. Hopkins argues that this phenomenon, properly understood, poses a distinctive problem for aesthetic cognitivism. Such a result might seem to support a non-cognitivism about aesthetic judgement, but Hopkins argues that one of the most promising such accounts, a particular form of aesthetic quasi-realism, cannot account in a satisfactory way for aesthetic autonomy either. In this paper, I argue that Hopkins's argument is crucially enthymematic. Supplying the relevant premise makes space for an independently motivated explanation of autonomy, which is open to cognitivists and non-cognitivists alike.

I ask whether, and how far, it is possible legitimately to acquire the belief that a given item is beautiful on the basis of someone's testimony that it is. This is an issue that concerned Kant. Kant held that testimony could never be a legitimate source of such judgements, and clearly took his account of aesthetic judgement to explain this fact. I argue that Kant's theory does not, in fact, provide the materials for a satisfactory explanation. Was Kant at least right about the explanadum? While broadly sympathetic to his views on that, I also suggest ways in which they need qualifying. I consider alternative explanations of why testimony should, in general, not be a legitimate source of aesthetic judgement, especially those rooted in anti-realism about the aesthetic. I find these two no more obviously correct, at least in their current state of development.

My primary aim in this paper is to outline a quasi-realist theory of aesthetic judgement. Robert Hopkins has recently argued against the plausibility of this project because he claims that quasi-realism cannot explain a central component of any expressivist understanding of aesthetic judgements, namely their supposed ‘autonomy’. I argue against Hopkins’s claims by contending that Roger Scruton’s aesthetic attitude theory, centred on his account of the imagination, provides us with the means to develop a plausible quasi-realist account of aesthetic judgement. Finally, I respond to two recent attempts to discredit the validity of the notion of aesthetic autonomy. I claim that both fail adequately to address the underlying non-realist motivations and justifications for maintaining the principle.