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  1. Legislating Taste.Kenneth Walden - 2023 - Philosophical Quarterly 73 (4):1256-1280.
    My aesthetic judgements seem to make claims on you. While some popular accounts of aesthetic normativity say that the force of these claims is third-personal, I argue that it is actually second-personal. This point may sound like a bland technicality, but it points to a novel idea about what aesthetic judgements ultimately are and what they do. It suggests, in particular, that aesthetic judgements are motions in the collective legislation of the nature of aesthetic activity. This conception is recommended by (...)
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  • Food Landscapes: An Object-Centered Model of Food Appreciation.Matteo Ravasio - 2018 - The Monist 101 (3):309-323.
    In this paper I claim that Allen Carlson’s object-centered model for the aesthetic appreciation of nature could be extended to food. The application of an object-centered model to food requires the identification of appropriate foci of appreciative attention. I claim that knowledge about food function and history is relevant to its appreciation, as is the interplay between the resources of a territory and the way in which these are used by its inhabitants. After having offered a brief application of the (...)
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  • Ethical Guidance from Literature and Mathematics.Stephen Pollard - 2017 - Journal of Speculative Philosophy 31 (4):517-537.
    That mathematics makes for poor literature is a conclusion as uninteresting as it is inevitable—inevitable because were mathematical prose to score high on a scale of literary value, this result would do more to discredit the scale than glorify the prose. It may, however, help us better understand our cultural landscape if, without attempting a literary appraisal of mathematics or a mathematical appraisal of literature, we search for some community of interest between the formal sciences and the literary arts. This (...)
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  • Painting, History, and Experience.Robert Hopkins - 2006 - Philosophical Studies 127 (1):19-35.
    Two themes run through Wollheim’s work: the importance of history to the practice and appreciation of the arts, and the centrality of experience in appreciation. Prima facie, these are in tension. Reconciling them requires two steps. First, we should follow Wollheim in adopting a notion of experience on which features can be experienced even if we must have experience-independent access to the fact that the work exhibits them. Second, we need to state what makes a particular experience appropriate to the (...)
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