Despite the fact that Husserl did not write a book on aesthetics, it is widely accepted that a Husserlian aesthetics can be developed from his writings. In this article, I describe and analyze a feature of Husserlian aesthetics which I call the “radical individuality of the aesthetic object.” This radical individuality stems from Husserl’s interpretation of aesthetic consciousness in terms of the neutrality modification. I make the case for a radical reading of the neutrality modification by contrasting it with the (...) inactuality modification and the notion of foundation and I argue that the neutrality modification must be kept distinct from these concepts. I further describe the concept of the radical individuality of the aesthetic object by reference to Ingarden’s notion of the aesthetic object as monosubjective. The thesis of the radical individuality of the aesthetic object prima facie leads Husserlian aesthetics close to axiological relativism expressed in the adage that de gustibus non est disputandum. I explain that despite such proximity, Husserlian aesthetics does not entail an axiological relativism and does not preclude discussions concerning aesthetic values. On the contrary, Husserlian aesthetics ultimately shows that such discussions are necessary for keeping the possibility of aesthetic perception itself alive, and thereby encourages such discussions. I conclude with a practical demonstration of the results of my Husserlian analyses by critically engaging some aspects of Proust’s theory of art in À la recherche du temps perdu. (shrink)

O ponto de vista do espectador e a medida do juízo moral em Hume.

Does the ethical value of a work of art ever contribute to its aesthetic value? I argue that when conventionally interpreted as a request for a conceptual analysis the answer to this question is indeterminate. I then propose a different interpretation of the question on which it is understood as a substantial and normative question internal to the practice of aesthetic criticism.

This article presents an argument for the return to the original meaning of the concept value. This is achieved by revisiting the genealogy of the concept and by placing in perspective and questioning the common parlance thereof in contemporary legal discourse. The approach is decidedly against the often casual way in which courts and commentators treat the concept, seemingly as concretisation, validation, exegesis or reinforcement of fundamental norms, but without paying attention to its original meaning and use. It is submitted (...) that we confine our talk of values to the products of valuation, that is, the taste, the will, the esteem and/or perspective of some individual or group. Yet, it is not suggested that we completely discard the use of values discourse in law, the goal is rather to restate the inherent relativity of values language in legal discourse. This will bring necessary order to the current conceptual disarray and will foster mutual understanding and alliance. (shrink)

Arthur Danto’s Transfiguration of the Commonplace is a new theory of art, seeking to catch the flavour and essence of its contemporary phenomenology. It is obliged, however, to pit itself in toto against aesthetic philosophy, leaning on the derivatives from deuteropraxis and institutional definition while committing itself to a concept of arthood extracted from exoteric ideas, which are held to comprise the artworks’ individuation and identity. This paper examines the principal notions in support of his contentions and contrasts them to (...) the chief principles of aesthetic philosophy. In this juxtaposition, it transpires that conviction eludes Danto, as his suppression of aesthetic criteria yields unsuspected aporias from a disconjugate amalgam of inherence, ontology, epistemology and concept integration. Thus the leap from “mere real things” to the plateau of arthood is never accomplished, as it falters at the step where a perceiving subject has a stake in, and the power of authorisation, of this co... (shrink)

Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, social practices, and aesthetic value primitivism. I conclude (...) by raising questions for further work in this area. (shrink)

Recent work within such disparate research areas as the epistemology of perception, theories of well-being, animal and medical ethics, the philosophy of consciousness, and theories of understanding in philosophy of science and epistemology has featured disconnected discussions of what is arguably a single underlying question: What is the value of consciousness? The purpose of this paper is to review some of this work and place it within a unified theoretical framework that makes contributions (and contributors) from these disparate areas more (...) visible to one another. (shrink)

It is a noteworthy disanalogy between contemporary ethics and aesthetics that the fitting-attitude account of value, so prominent in contemporary ethics, sees comparatively little play in aesthetics. The aim of this paper is to articulate what a systematic fitting-attitude-style framework for understanding aesthetic value might look like. In the bulk of the paper, I sketch possible fitting-attitude-style accounts of three central aesthetic values – the beautiful, the sublime, and the powerful – so that the general form of the framework come (...) through. (shrink)

A persistent puzzle for philosophers of science is the well-documented appeal made by scientists to their aesthetic emotions in the course of scientific research. Emotions are usually viewed as irremediably subjective, and thus of no epistemological interest. Yet, by denying an epistemic role for scientists’ emotional dispositions, philosophers find themselves in the awkward position of ignoring phenomena which scientists themselves often insist are of importance. This paper suggests a possible solution to this puzzle by challenging the wholesale identification of emotion (...) with subjectivity. The proposed method is a naturalistic and externalist one, calling for empirical investigation into the intersubjective processes by which scientists’ emotional dispositions become refined and attuned to specific objects of attention. The proposal is developed through a critical discussion of Michael Polanyi’s theory of scientific passions, as well as plant geneticist Barbara McClintock’s celebrated “feeling for the organism.”. (shrink)

This paper expounds and defends a judge-dependence account of aesthetic concepts, where aesthetic concepts are construed widely, to include for example both concepts of personal taste and more narrowly aesthetic concepts. According to such an account, it can depend on personal features of a judge whether it is correct for that judge to apply an aesthetic concept to a given object. After introducing and motivating the account, the article sets out to explain how some aesthetic questions can seem more objective (...) than others, or how there seem to be experts on some aesthetic questions, despite the judge-dependence of aesthetic concepts. (shrink)

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 (...) distinctive, what their normative status is, and how they interact with each other and with non-aesthetic reasons. This piece aims to provide a taxonomy to clarify and organise the burgeoning literature and to make a few concrete suggestions for avenues of future research. (shrink)

On a contemporary Humean-influenced view, the responses of suitably idealized appreciators are presented as tracking, or even determining, facts about artistic value. Focusing on the intra-personal case, this paper argues that (i) facts about the refinement and reconfiguration of aesthetic character together with (ii) the manner in which autobiography and character are implicated in artistic appreciation make it de facto unlikely that we can reliably come to know how our ideal counterpart would respond to a given artwork. Attribution of superhuman (...) abilities to our ideal counterpart partially addresses this worry, but undermines a central feature of the theoretical motivation for the idealizing model. Insofar as response-dependent accounts of artistic value are inextricably tied to an idealizing view of critics, we have reason to reject them. (shrink)

The (im)moral character of art works often affects how we respond to them. But should it affect our evaluation of them as art? The article surveys the contemporary debate whilst outlining further lines of argument and enquiry. The main arguments in favour of aestheticism, the claim that there is no internal relation between artistic value and moral character, are considered. Nonetheless the connection between art's instructional aspirations and artistic value, as well as the ways in which works solicit responses from (...) us, underwrite the claim that a work's moral character can be directly relevant to a work's value as art. Various competing accounts of how the relationship goes, ethicism, moderate moralism and immoralism, are considered. The article goes on to elaborate novel considerations in favour of a suitably qualified cognitive immoralism and suggests avenues of further enquiry with respect to the moral character of art works. (shrink)

This note explores how ideal subjectivism in metanormative theory can help solve two important problems for Fitting Attitude analyses of value. The wrong-kind-of-reason problem is that there may be sufficient reason for attitude Y even if the object is not Y-able. The many-kinds-of-fittingness problem is that the same attitude can be fitting in many ways. Ideal subjectivism addresses both by maintaining that an attitude is W-ly fitting if and only if endorsed by any W-ly ideal subject. A subject is W-ly (...) ideal when the most robust way of avoiding W-type practical problems is deferring to her endorsement. (shrink)

This is a paper about the nature of snobbery and the undermining import of a charge of snobbery. On my account, snobs sincerely attempt to identify and correctly evaluate the aesthetically relevant features of an object, but they get things wrong, and their getting things wrong is explained by the fact that they under-value that which they associate with being lower-class. We can see the need for this account by reflecting on examples, and can distinguish it from existing accounts of (...) snobbery by thinking about when and why evidence of snobbery constitutes higher-order evidence against one’s aesthetic judgements. Existing accounts either are consistent with snobs’ aesthetic judgements being flawless, and thus not undermined by evidence of snobbery, or they imply that the canonical reasoning-process for arriving at aesthetic judgements has been bypassed altogether. On my account, by contrast, snobbery does not bypass the canonical aesthetic reasoning-process but distorts it in systematic and predictable ways. (shrink)

According to what Robert Stecker dubs the “ethical-aesthetic interaction” thesis, the ethical defects of a literary work can diminish its aesthetic value. Both the thesis and the only prominent argumentative strategy employed to support it the affective response argument have been hotly debated; however, Stecker has recently argued that the failure of the ARA does not undermine the thesis, since the argument “fails to indentify the main reason [the thesis] holds, when it in fact does.” I critically examine Stecker’s objection (...) to the familiar versions of the affective response argument and the line of support for ethical-aesthetic interaction he proposes to install in their place. I conclude that neither is compelling; however, an important insight can be salvaged from his positive proposal, and I argue that the insight does, in fact, point toward a novel defense of the thesis. (shrink)

Open Access: This article argues for an aesthetic approach to resisting oppression based on judgments of bodily unattractiveness. Philosophical theories have often suggested that appropriate aesthetic judgments should converge on sets of objects consensually found to be beautiful or ugly. The convergence of judgments about human bodies, however, is a significant source of injustice, because people judged to be unattractive pay substantial social and economic penalties in domains such as education, employment and criminal justice. The injustice is compounded by the (...) interaction between standards of attractiveness and gender, race, disability, and gender identity. -/- I argue that we should actively work to reduce our participation in standard aesthetic practices that involve attractiveness judgments. This does not mean refusing engagement with the embodiment of others; ignoring someone’s embodiment is often a way of dehumanizing them. Instead, I advocate a form of practice, aesthetic exploration, that involves seeking out positive experiences of the unique aesthetic affordances of all bodies, regardless of whether they are attractive in the standard sense. I argue that there are good ethical reasons to cultivate aesthetic exploration, and that it is psychologically plausible that doing so would help to alleviate the social injustice attending judgments of attractiveness. -/- This essay was the winner of the 30th Anniversary of the American Society for Aesthetics Feminist Caucus Committee Feminist Research Essay prize in 2020. (shrink)

This paper explores taste in the context of phenomenology and outlines possibilities for situating a phenomenological approach to taste within the framework of educational theory. In such an approach, taste emerges as a complex interaction between all senses and as interplay between recollection and anticipation. In this respect, taste-experience is indicative of a privileged but hitherto relatively unexplored access to cognition. It is a sensory encounter that encompasses possibilities for learning, not only about taste but also about other subjects through (...) taste. (shrink)

The topic of this essay is how non-realistic novels challenge our philosophical understanding of the moral significance of literature. I consider just one case: Joseph Heller’s Catch-22. I argue that standard philosophical views, based as they are on realistic models of literature, fail to capture the moral significance of this work. I show that Catch-22 succeeds morally because of the ways it resists using standard realistic techniques, and suggest that philosophical discussion of ethics and literature must be pluralistic if it (...) is to include all morally salient literature, and not just novels in the “Great Tradition” and their ilk. (shrink)

In this paper I argue that there is good reason to believe that we can be influenced by fictions in ways that matter morally, and some of the time we will be unaware that we have been so influenced. These arguments fall short of proving a clear causal link between fictions and specific changes in the audience, but they do reveal rather interesting and complex features of the moral psychology of fiction. In particular, they reveal that some Platonic worries about (...) the dangers of art cannot be dismissed lightly. (shrink)

In the 1990s and early 2000s, researchers in the field of so-called neuoaesthetics recruited research subjects who had been untrained in arts and did not have any pronounced interest in aesthetic matters for their laboratory experiments. The prevalent choice of research subjects has recently changed. Currently, a great number of studies uses subjects who are professionally engaged in the art world. In my paper, I describe, analyze, and critically discuss the two research paradigms regarding the subjects involved in the experiments (...) in neuroaesthetics. I claim that although the more recent one can be generally regarded as an improvement of the research framework, it underestimates the difficulties brought by the notion of expertise in aesthetic perception. (shrink)

Empirically minded philosophers have raised questions about judgments and theories based on moral intuitions such as Rawls’s method of reflective equilibrium. But they work from the notion of intuitions assumed in empirical work, according to which intuitions are immediate assessments, as in psychologist Jonathan Haidt’s definition. Haidt himself regards such intuitions as an appropriate basis for moral judgment, arguing that normal agents do not reason prior to forming a judgment and afterwards just “confabulate” reasons in its defense. I argue, first, (...) that the notion of “considered intuitive judgment” that Rawls spells out when he first presents his method is pre-theoretical, but not at all pre-reflective, in the way Haidt’s definition supposes; it may rest on various forms of reasoning short of systematic derivation from theoretical principles. I go on to take issue with Haidt’s dismissal of ex post facto moral reasoning, arguing that it can play both a causal role in an individual’s later intuitions or judgments and a legitimate normative role, as required by moral competence in judging non-taboo cases. I suggest that the move from intuition to judgment and thence to ex post facto reasoning makes sense as a justificatory version of Peircean abduction, or what is now mainly called “inference to the best explanation.”. (shrink)

According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is (...) to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value-Meriting-Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non-contingently, but also non-hedonically. VMP is the view that objects of aesthetic value are non-contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit. (shrink)

This study looks at the emerging branch of everyday aesthetics from the perspective of the fracture which exists in its core, as a result of the double reading of the everyday: the first, which elevates it to the realm of the extraordinary and the second, in which it remains strictly ordinary. Our purpose here is to repair this fracture by turning to David Hume’s functionalist aesthetics, where disinterest and utility are reconciled through sympathy and the affective experience of otherness that (...) it provides. Once transferred to the everyday sphere, sympathy facilitates understanding between these two versions, since the aesthetic appreciation of everyday objects or common activities requires, like the second version, that they remain in the practical environment and, like the first, to see something special in them, which is the possibility of one’s own or another’s well-being. (shrink)

In attempting to answer whether Nabokov’s Lolita can be described as an unethical novel, the author ponders on what basis one could make such a determination. At (1) the author analyzes the merited-response argument offered by Gaut (and previously Hume and Carroll), which provides a conceptual framework for the resolution of the controversy surrounding Lolita. Based on this analysis, (2) the author decides what constitutes the novel’s ethical foundation and what (3) prescriptions and (4) responses can follow from it.

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

This article discusses why it is the case that we refuse to accept strange evaluative claims as being true in fictions, even though we are happy to go along with other types of absurdities in such contexts. For instance, we would refuse to accept the following statement as true, even in the con-text of a fiction: -/- (i) In killing her baby, Giselda did the right thing; after all, it was a girl. -/- This article offers a sensibilist diagnosis of (...) this puzzle, inspired by an observation first made by David Hume. According to sensibilism, the way we feel about things settles their evaluative properties. Thus, when confronted with a fictional scenario where the configuration of non-evaluative facts and properties is relevantly similar to the actual world, we refuse to go along with evaluative properties being instantiated ac-cording to a different pattern. It is the attitudes we hold in the actual world that fix the extension of evaluative properties, even in non-actual worlds. When engaging with a fiction, we (to some extent) leave our be-liefs about what the world is like behind, while taking our emotional atti-tudes with us into the fiction. To substantiate this diagnosis, this paper outlines a sensibilist semantics for evaluative terms, based on recent discussion regarding predicates of personal taste, and explains how, together with standard assumptions about the nature of fictional discourse, it makes the relevant predictions with respect to engagement with fictions. (shrink)

In this paper, I present a piece of natural theology, whose pro tanto conclusion is the existence of god-the-artist, that is a lower case “g” god, a creator who creates for the sake of beauty, but who is not worthy of worship, a god who can be admired but should not be loved. I then consider some only partially successful responses to this dismal conclusion. Finally, I show to reconcile the idea of a god motivated by love of beauty with (...) the religious tradition of an upper case “G” God, who is not merely to be worshiped but loves us and invites a loving response. (shrink)

Pessimists about aesthetic testimony argue that it is inappropriate to rely on other people’s aesthetic judgments in forming our own aesthetic beliefs. Some suggest that such reliance violates an epistemic norm, others that it violates a non-epistemic norm. In making their case, pessimists offer several arguments. They also put forward cases meant to elicit pessimist intuitions. In this paper, I claim that none of the main pessimist arguments succeeds against a plausible version of optimism, that is, the view that reliance (...) on testimony in aesthetic matters is appropriate. However, I suggest also that pessimist intuitions have a certain pull that optimists must account for. My second task is to explain the force of pessimist intuitions by shedding new light on their source. (shrink)

I ask whether and when historical inaccuracy in a work of art constitutes an aesthetic flaw. I first consider a few replies derived from others: conceptual impossibility, import-export inconsistency, failure of reference, and imaginative resistance. I argue that while there is a grain of truth to some of these proposals, none of them ultimately succeeds. I proceed to offer an alternative account on which the aesthetic demerits of historical inaccuracies stem from a violation of the conversational contract between author and (...) audience. The key question is what that contract implies. (shrink)

ABSTRACT While the concept of “infinite distance” (ID) appears as such only in the work of Maurice Blanchot, in this paper we argue that it could be productively coined in Walter Benjamin’s as well. We argue that (1) the concept of ID is elaborated from a revision, a re-signification, and a radicalization of the modern concept of “aesthetic distance”, and that (2) this modification is fundamentally based on the interpretations that both, Benjamin and Blanchot, make first of early German Romanticism, (...) and second of the work of Franz Kafka. This modification, we contend, (3) contains a shift in the ground of the concept: the concept of ID has no longer as ground the realm of the subjective faculties (i.e., the ‘judgment of taste’), but the realm of art and language. Finally, we show (4) that the concept of ID presupposes the existence of a ‘fragmentary impulse’ within literary works that can be understood as a “limit-experience” for the subjectivity. (shrink)

Immanuel Kant and his work occupied a space at the crossroads of several important movements in philosophy. In this essay, I look at two important crossroads in aesthetics. First, the subjective turn in aesthetics, when the focus on aesthetic objects was rebalanced with the focus on the subject’s experience of such objects, the weight shifting from the objective to the subjective. Second, after many years and many theories advancing the view that universality of judgment could be achieved, at least in (...) part, through adoption of the appropriate perspective – or attitude – when considering a particular aesthetic object, Kant offers us perhaps the most sophisticated view of disinterestedness of any, and as he does so he solidifies that tradition, bringing it to its culmination, and ushers in the beginning of its end. (shrink)

Advancing a claim about the quality of a work of art is critical thinking applied in a particular arena and applies the same rules that advancing a claim about anything follows. Described this way, advancing an art evaluative claim is no different from advancing any claim. On the other hand, advancing claims in differing arenas frequently follow different methodologies. Art criticism, thought of in this way—as a species of critical thinking focused on advancing claims about the quality of works of (...) art—has its own methodology. This paper describes two versions of that methodology, one that is object-focused (or event-focused) and one that is subject-focused. (shrink)

Mei in Chinese is normally translated into English as "beauty" or "the beautiful." The nature of mei is not a central theme in Zhuangzi's philosophy; neither is it a concept of particular importance in traditional Chinese aesthetics. The core concepts of Chinese aesthetics, according to historians of Chinese aesthetics, are dao, qi, and xiang, but mei is not one of them.1 In Chinese aesthetic history, we see different points of emphasis in contrast to the prevailing concern with beauty in Western (...) aesthetics. "The nature of beauty," as Crispin Sartwell points out, "is one of the most enduring and controversial themes in Western philosophy, and is—with the nature of art—one of the two fundamental issues in... (shrink)

The notion of normativity has been key to an actualizing reading of the subjective universality that for Kant characterizes the aesthetic judgment. However, in the scholarly literature little discussion is made, somehow unsurprisingly, of what exactly we should understand by normativity when it comes to Kant’s aesthetics. Recent trends show indeed the tendency to take normativity very broadly to the point of nuancing most of its core meaning. Based on how we speak about normativity in aesthetics, we seem indeed to (...) have accepted that every kind of evaluative process is normative. I will argue that the sentimentalist elements of Kant's account call for a revision of its normative interpretations, for a better framing of its subjective universalism, and finally for a reconsideration of aesthetic normativity in favour of regulativity. (shrink)

Very often, different people, with different constitutions and comic sensibilities, will make divergent, conflicting judgments about the comic properties of a given person, object, or event, on account of those differences in their constitutions and comic sensibilities. And in many such cases, while we are inclined to say that their comic judgments are in conflict, we are not inclined to say that anybody is in error. The comic looks like a poster domain for the phenomenon of faultless disagreement. I argue (...) that the kind of theory that does the best job of accounting for the appearance of faultless disagreement is a de se version of a response-dependence account, according to which thinking that x is funny is self-attributing a property of the type, being disposed to have R to x in C. (shrink)

This collection brings together a selection of my recently published or forthcoming articles. What unites them is their common concern with one of the central ambitions of philosophy, namely to get clearer about our first-personal perspective onto the world and our minds. Three aspects of that perspective are of particular importance: consciousness, intentionality, and rationality. The collected essays address metaphysical and epistemological questions both concerning the nature of each of these aspects and concerning the various connections among them. More generally, (...) given that intentionality and ratio- nality are both normative phenomena, the main theme of the articles is the relationship between consciousness and normativity and the centrality of this relationship to our first-personal perspective. -/- This focus culminates in the defense of two specific views, experiential rationalism and experiential intentionalism. The first is, very roughly, the view that how our mental episodes are given in consciousness reflects their rational role in our mental lives: it is part of what our mental episodes subjectively are like that we phenomenally experience them as providing and/or responding to certain kinds of reasons. The central claim of the second view, on the other hand, is that the intentionality of our mental episodes is essentially linked to consciousness and involves a token-reflexive element: they intentionally present not only the world, but also themselves as being a certain way. -/- Some of the essays also deal with the contrast between our first- and our third-personal perspectives and the — to some extent related — division of labour between philosophy and the empirical sciences. Both perspectives have their limitations and sometimes conflict with each other, raising the question of what the consequences are for accounts of our first-personal knowledge and its internal or external objects. (shrink)

This essay examines the manner in which Hume challenges the cognitivist and realist intuitions informing our ordinary experience of value by identifying values with mind-dependent feelings and by separating facts from values. However, through a process of interpretive rehearsal of Hume’s arguments in the first two parts of the paper we find that they come under increasing internal strain, which points, contrary to his initial argument about the irreducibly phenomenal aspects of value experience, to the motivational role of reason and (...) to the identification of values, not with mind-dependent feelings, but with dispositional properties of objects. The third and final part of the paper will offer a systematic reconstruction of his arguments with a view to suggesting one possible – descriptivist – alternative to Hume’s initial challenges, which can serve to satisfy the emerging cognitivist and realist needs of his arguments. (shrink)

ABSTRACTCan a Naturalist Definition of art replace the historical and institutional positions argued for by philosophical aesthetics? This article considers Denis Dutton’s work in evolutionary psychology and his cluster Naturalist Definition of art. I begin with an analysis of the validity of what Dutton takes to be the most important criterion: Imaginative Experience. I propose a criticism of Dutton’s set of criteria coupled with a re-evaluation of what may be implied when referring to a naturalist basis for the arts. Specifically, (...) I argue that philosophical aesthetics, which has been criticized by Dutton as a form of cultural relativism, is instead able to address features of our interaction with the arts that have adaptive and evolutionary value. (shrink)

This thesis argues that the nature of disability is, currently, fundamentally misunderstood. Current approaches to disability are nounal and seek to determine the locus of disability with the intention of better understanding the phenomenon of disability. In contrast, this thesis offers an adverbial perspective on disability and shows how disability is experienced as an increased and personally irremediable impediment to daily-living tasks or broader goals. This thesis holds that impediment is not a function of either biological individuality or the Social, (...) but of a specific relation between the individual and their environment. The following delineates the Picture Theory of Disability — a mechanism for the evaluation of the experience of disability and a heuristic device for the proper interpretation of disability. The theory is born of Humean sentimentalism and elements of Wittgenstein’s Picture Theory of Language, and shows when, where, and how disability is experienced. (shrink)

Beauty is evil, a surreptitious diversion of earthly delights planted by the devil, according to the third century theologian-philosopher Tertullian. Beauty is a manifestation of the divine on earth, according to another third century philosopher, Plotinus. Could these two really be talking about the same thing? That beauty evokes an experience of pleasure is probably the only point on which all participants in the continuing debate on beauty agree. But what kinds of pleasure one considers relevant to an experience of (...) beauty, is the crux of the problem of beauty. In ancient, medieval and eighteenth century philosophy, the problem of beauty was framed by the larger concern of what constituted a good life. The question regarding the nature of beauty was answered with a view to its role in achieving the good life for those who cultivated its apprehension. In the twentieth century, philosophers framed the problem of beauty as a problem for conceptual analysis. The questions asked were: Is beauty subjective or objective? Are there properties in the object that count towards beauty in all cases; that are sufficient or necessary for an object to be judged beautiful? What kind of pleasure is the pleasure we experience of beauty? I will examine how these questions can be seen to have been answered by earlier philosophical traditions and then I will use these questions as a guide to developing an explanatory theory of beauty based on contemporary theories of perception. (shrink)

I examine skeptical arguments about the constitutive nature of agency, with special attention to those of Elijah Millgram. I suggest that these arguments lead us not to the conclusion that agency has no such nature, but that it is an essentially contested kind in the same way that art is. I argue that this undermines traditional forms of constitutivism in metaethics but opens the door to a different way of pursuing the same program. Finally, I take issue with Millgram’s solution (...) to the problem of “logical aliens” and suggest an alternative based my analogy with art. (shrink)

The dissertation traces the development of what I call “the problem of partiality” through the work of certain key figures in the British Moralist tradition: John Locke, Catharine Trotter Cockburn, Anthony Ashley Cooper (the Third Earl of Shaftesbury), Francis Hutcheson, John Gay, David Hume, Joseph Butler, and Adam Smith. On the one hand, we are committed to impartiality as a constitutive norm of moral judgment and conduct. On the other hand, we are committed to the idea that it is permissible, (...) or even obligatory, to expend disproportionate resources promoting the good of our loved ones over the good of strangers. However, these two commitments conflict with one another. This problem challenges us to provide an account of the scope and limits of reasonable partiality that does justice to both commitments. I argue that confronting this tension is a central project of early modern ethics. I offer a rereading of the British Moralist tradition, centered on debates about partiality, and thereby shift discussion of the tradition away from concerns about meta-ethics and moral epistemology, to issues of practical ethics. The topic of partiality remains central in contemporary ethics, as is evident in ongoing debates about the place of empathy in moral judgment, and the role of love in shaping our moral commitments. Though the aim of the dissertation is not to settle questions about the scope and limits of reasonable partiality, the focus here remains fixed on how the concept of partiality was problematized in our ethical thought, and how it informs our discussions in normative ethics and moral psychology. Alongside building a bridge between early modern scholarship and recent work in ethics, the dissertation casts light on two understudied figures in the British Moralist tradition – Cockburn and Gay – who contributed greatly to debates about partiality. By examining their contributions, I reconsider their place in the history of modern ethics and therefore provide a more contextualized account of philosophical thought in the period. (shrink)