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  1. Higher-Order Evidence in Aesthetics.Daniel Whiting - 2023 - British Journal of Aesthetics 63 (2):143-155.
    In this introduction, I explain the notion of higher-order evidence and explore its bearing on aesthetic judgement. I start by illustrating how reflection on cases involving higher-order evidence engages with well-established concerns in aesthetics—specifically, how it might reveal tensions within and between widely recognized aesthetic ideals governing aesthetic judgement. Next, I show how attention to higher-order evidence in relation to aesthetic judgement might expose limitations or assumptions of theories in epistemology, where the nature and significance of higher-order evidence with respect (...)
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  • Admiration, Appreciation, and Aesthetic Worth.Daniel Whiting - 2023 - Australasian Journal of Philosophy 101 (2):375-389.
    What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning the nature (...)
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  • Aesthetic obligations.Robbie Kubala - 2020 - Philosophy Compass 15 (12):e12712.
    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 (...)
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  • Aesthetic practices and normativity.Robbie Kubala - 2021 - Philosophy and Phenomenological Research 103 (2):408–425.
    What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are explained by norms internal (...)
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  • A Fitting-Attitude Approach to Aesthetic Value?Uriah Kriegel - 2023 - British Journal of Aesthetics 63 (1):57-73.
    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 (...)
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  • Reasons, normativity, and value in aesthetics.Alex King - 2021 - Philosophy Compass 17 (1):1-17.
    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 (...)
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  • Forever fitting feelings.Christopher Howard - 2022 - Philosophy and Phenomenological Research 107 (1):80-98.
    This paper addresses a recent puzzle in the ethics of emotions concerning the fitting duration of emotions. On the one hand, many of our emotions tend to fade with time and can seem to do so fittingly. Think of attitudes like anger, grief, and regret. On the other hand, it's difficult to see how it could be fitting for these feelings to fade since the facts that make them fitting can seem to persist. This is the puzzle in brief; that (...)
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  • Dubious pleasures.Javier González de Prado - 2023 - British Journal of Aesthetics 63 (2):217-234.
    My aim is to discuss the impact of higher-order evidence on aesthetic appreciation. I suggest that this impact is different with respect to aesthetic beliefs and to aesthetic affective attitudes (such as enjoyment). More specifically, I defend the view that higher-order evidence questioning the reliability of one’s aesthetic beliefs can make it reasonable for one to revise those beliefs. Conversely, in line with a plausible account of emotions, aesthetic affective attitudes are not directly sensitive to this type of higher-order evidence; (...)
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  • Why fittingness is only sometimes demand-like.James Fritz - 2023 - Philosophical Studies 180 (9):2597-2616.
    Sometimes, the fact that an attitude is fitting seems like a demand to have that attitude. But in other cases, the fact that an attitude is fitting seems more like a permission to have the attitude. I defend a proposal that can accommodate both of these appearances. I argue that there is a kind of emotionlessness, which I call apathy, that can be fitting or unfitting in just the same way that emotion can. I further argue that, in some cases, (...)
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  • Aesthetic Commitments and Aesthetic Obligations.Anthony Cross - 2022 - Ergo: An Open Access Journal of Philosophy 8 (38):402-422.
    Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp on the nature of (...)
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