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The lecture that we have heard consists of excerpts from Professor Stanley’s forthcoming book Knowledge and Interest, and it consists of two parts, a messy part and a clean part; the messy part is from the book’s introduction, which describes the “central data that is at issue in this debate,” and the clean part is from Chapter 7, which presents an interesting criticism of a semantical theory of knowledge-attribution sentences that makes their truth-conditions relative to non-time-world circumstances of evaluation, e.g. to a judgment-maker at a time. There is a nice discussion of Peter Lasersohn’s semantical views, with kudos, bricks, and bats to Mark Richard, Jeff King, Gareth Evans, John Hawthorne, David Kaplan, and David Lewis. Though I found this discussion of great interest and would have welcomed more discussion of an earlier view of Jason Stanley’s in which “what is said” and “what is believed” can be used to refer to entities that are not propositional, e.g. semantic values that are neutral with respect to time and place, a view of Stanley’s of which I am a fan, I was more provoked by the messy part: the appeal to intuitive linguistic data employed by supporters of epistemological contextualism, e.g. Stewart Cohen, Keith De Rose, a time-slice of David Lewis, among others. I will focus on what Professor Stanley says about the data in his paper and not worry the scholarly question about their relation to other views.

A complete collection of Frank Sibley's articles on philosophical aesthetics, this volume includes five, remarkable, hitherto unpublished papers written in Sibley's later years. It addresses many topics, among them the nature of aesthetic qualities versus non-aesthetic qualities, the relation of aesthetic description to aesthetic evaluation, the different levels of evaluation, and the objectivity of aesthetic judgement. The later papers constitute both a significant development of Sibley's individual approach to aesthetics, such as his discussion of the distinction between attributive and predicative uses of adjectives and of the aesthetic significance of tastes and smells, a topic Sibley considered to be much neglected.

Philosophers seldom ask questions regarding how certain phenomena occur, because such questions tend to be the province of the sciences or of technology. However, the question how pictures have depth requires philosophical reflection because it takes place on the surface of pictorial objects and involves both physical and phenomenal, i.e. aesthetic, features of those surfaces. This essay examines how pictures have depth by first separating the aesthetic question from interpretive considerations, and thereby refining the question how pictures have depth. Next it explicates two sorts of conceptual tools required to understand the question: several complex concepts needed to understand surfaces, and the concept of intensity. These are then used to understand how pictures can have depth by showing how intensities produce both an aesthetic surface and depth within it.

I argue that the experiences of everyday life are replete with aesthetic character, though this fact has been largely neglected within contemporary aesthetics. As against Dewey's account of aesthetic experience, I suggest that the fact that many everyday experiences are simple, lacking in unity or closure, and characterized by limited or fragmented awareness does not disqualify them from aesthetic consideration. Aesthetic attention to the domain of everyday experience may provide for lives of greater satisfaction and contribute to our ability to pursue moral aims.

Aesthetic realism is offered as a way of overcoming aesthetic disagreement and combating all forms of subjectivism, emotivism, and so on, with its thesis that aesthetic qualities really exist and the judgements about them are genuine statements of fact. This paper questions the intelligibility of that thesis together with its claim that aesthetic qualities are supervenient upon non-aesthetic ones. It is suggested that in this context supervenience amounts to little more than aspect perception and that allows ontological claims about supervenient qualities to be rejected. Subjectivism, however, is not the alternative. Neither realism nor subjectivism do justice to the complexity of aesthetic judgements and the roles that they play in our lives. It is suggested that the nature of these judgements is best pursued through Wittgenstein’s notions of aspect perception and imponderable evidence.

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.

My paper examines a vital but neglected aspect of Frank Sibley's pioneering account of aesthetic concepts. This is the claim that many aesthetic qualities are such that they can be characterized adequately only by metaphors or ‘quasi-metaphors’. Although there is no indication that Sibley embraced it, I outline a radical, minimalist conception of the experience of perceiving an item as possessing an aesthetic quality, which, I believe, has wide application and which would secure Sibley's position for those aesthetic qualities that conform to it.

The desire to feel clean and pure might not merely be the absence of contamination and resulting feelings of disgust. Instead, it might have a social function because early in evolution social grooming not only involved improved personal hygiene and cleanliness, but also increased group cohesion. Thus, knowing that one’s body is clean, proper and tidy might have social implications that go beyond morality.

Neglect of everyday aesthetics -- Significance of everyday aesthetics -- Aesthetics of distinctive characteristics and ambience -- Everyday aesthetic qualities and transience -- Moral-aesthetic judgments of artifacts.