Kant’s approach to the nature of artworks suggests that art has a metaphysical dimension that accounts for the two major elements of aesthetic experience. Aesthetic judgements are occasioned by experiences of pleasure and have an objective aspect since they are experiences with which other persons are expected to agree. More recently, Arthur Danto has argued that an artwork must be situated in an artworld. Pragmatists see aesthetic experience instead as integral to experience and requiring no special explanation other than association (...) with consumatory moments of experience. I want to argue that the pragmatist approach is basically correct, that contra Danto and Kant, aesthetic experience has no special implications for metaphysics. I locate this notion of aesthetic experience in the work of Ralph Waldo Emerson and offer speculations about the cultural relativity of concepts of aesthetic beauty. (shrink)
This paper examines the phenomena of falling in love and of love using Baudelaire’s poem, “Which is the Real One,” as impetus. The author asks why love is often focused toward an individual and why an individual often makes such a monumental difference when love should be a more universal experience. The focus of the Romantic poets on the individual is criticized, and Taoist and anti-romantic conceptions of love are considered.
Several epistemologists (Levi, Harman, Pollock) have recently urged the adoption of what I call a “no-fault” approach to the justification of beliefs. I argue that these views fall prey to objections raised by Alvin Goldman against internalism, specifically: they assume an initial set of regulative principles. It is also suggested that the way to avoid Goldman’s objections is through a psychologistic account of initial warrant.