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Shen-yi Liao & Aaron Meskin (2017). Aesthetic Adjectives: Experimental Semantics and Context-Sensitivity.

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  1. Indexical Contextualism and the Challenges From Disagreement.Carl Baker - 2012 - Philosophical Studies 157 (1):107-123.
    In this paper I argue against one variety of contextualism about aesthetic predicates such as “beautiful.” Contextualist analyses of these and other predicates have been subject to several challenges surrounding disagreement. Focusing on one kind of contextualism— individualized indexical contextualism —I unpack these various challenges and consider the responses available to the contextualist. The three responses I consider are as follows: giving an alternative analysis of the concept of disagreement ; claiming that speakers suffer from semantic blindness; and claiming that (...)
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  2. Experimental Philosophy of Aesthetics.Florian Cova, Amanda Garcia & Shen-yi Liao - 2015 - Philosophy Compass 10 (12):927-939.
    In the past decade, experimental philosophy---the attempt at making progress on philosophical problems using empirical methods---has thrived in a wide range of domains. However, only in recent years has aesthetics succeeded in drawing the attention of experimental philosophers. The present paper constitutes the first survey of these works and of the nascent field of 'experimental philosophy of aesthetics'. We present both recent experimental works by philosophers on topics such as the ontology of aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as (...)
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  3. Can Folk Aesthetics Ground Aesthetic Realism?Florian Cova & Nicolas Pain - 2012 - The Monist 95 (2):241-263.
    We challenge an argument that aims to support Aesthetic Realism by claiming, first, that common sense is realist about aesthetic judgments because it considers that aesthetic judgments can be right or wrong, and, second, that becauseAesthetic Realism comes from and accounts for “folk aesthetics,” it is the best aesthetic theory available.We empirically evaluate this argument by probing whether ordinary people with no training whatsoever in the subtle debates of aesthetic philosophy consider their aesthetic judgments as right or wrong. Having shown (...)
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  4. Disputing About Taste.Andy Egan - 2010 - In Ted Warfield & Richard Feldman (eds.), Disagreement. Oxford, UK: Oxford University Press. pp. 247-286.
    “There’s no disputing about taste.” That’s got a nice ring to it, but it’s not quite the ring of truth. While there’s definitely something right about the aphorism – there’s a reason why it is, after all, an aphorism, and why its utterance tends to produce so much nodding of heads and muttering of “just so” and “yes, quite” – it’s surprisingly difficult to put one’s finger on just what the truth in the neighborhood is, exactly. One thing that’s pretty (...)
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  5. Context, Content, and Relativism.Michael Glanzberg - 2007 - Philosophical Studies 136 (1):1--29.
    This paper argues against relativism, focusing on relativism based on the semantics of predicates of personal taste. It presents and defends a contextualist semantics for these predicates, derived from current work on gradable adjectives. It then considers metasemantic questions about the kinds of contextual parameters this semantics requires. It argues they are not metasemantically different from those in other gradable adjectives, and that contextual parameters of this sort are widespread in natural language. Furthermore, this paper shows that if such parameters (...)
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    The Aesthetic Function of Art.Gary Iseminger - 2004 - Cornell University Press.
    Art and the aesthetic -- Traditional aestheticism -- A new aestheticism -- Aesthetic communication -- The artworld and the practice of art -- The artifactual concept of function -- Art as an aesthetic practice -- Artistic value as aesthetic.
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    Experimental Philosophy of Art.Richard Kamber - 2011 - Journal of Aesthetics and Art Criticism 69 (2):197-208.
    Although experimental philosophers have been busy kindling fires under well-worn armchairs in areas of philosophy as varied as epistemology, normative ethics, theories of reference, and the free will controversy, the philosophy of art has remained largely untouched. As Denis Dutton observes: “There is precious little reference to empirical psychology in contemporary philosophical aesthetics, almost as if philosophers of art have wanted to protect their patch from incursions by psychologists.” I intend to show how techniques borrowed from experimental psychology can bring (...)
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    Critique of Judgment.Immanuel Kant - 1790 - Barnes & Noble.
    Kant's attempt to establish the principles behind the faculty of judgment remains one of the most important works on human reason.
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  9. Vagueness and Grammar: The Semantics of Relative and Absolute Gradable Adjectives.Christopher Kennedy - 2007 - Linguistics and Philosophy 30 (1):1 - 45.
    This paper investigates the way that linguistic expressions influence vagueness, focusing on the interpretation of the positive (unmarked) form of gradable adjectives. I begin by developing a semantic analysis of the positive form of ‘relative’ gradable adjectives, expanding on previous proposals by further motivating a semantic basis for vagueness and by precisely identifying and characterizing the division of labor between the compositional and contextual aspects of its interpretation. I then introduce a challenge to the analysis from the class of ‘absolute’ (...)
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  10.  2
    Speaking of Art.Peter Kivy - 1973 - The Hague: M. Nijhoff.
  11. Context Dependence, Disagreement, and Predicates of Personal Taste.Peter Lasersohn - 2005 - Linguistics and Philosophy 28 (6):643--686.
    This paper argues that truth values of sentences containing predicates of “personal taste” such as fun or tasty must be relativized to individuals. This relativization is of truth value only, and does not involve a relativization of semantic content: If you say roller coasters are fun, and I say they are not, I am negating the same content which you assert, and directly contradicting you. Nonetheless, both our utterances can be true (relative to their separate contexts). A formal semantic theory (...)
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  12. Aesthetic Adjectives Lack Uniform Behavior.Shen-yi Liao, Louise McNally & Aaron Meskin - 2016 - Inquiry : An Interdisciplinary Journal of Philosophy 59 (6):618-631.
    The goal of this short paper is to show that esthetic adjectives—exemplified by “beautiful” and “elegant”—do not pattern stably on a range of linguistic diagnostics that have been used to taxonomize the gradability properties of adjectives. We argue that a plausible explanation for this puzzling data involves distinguishing two properties of gradable adjectives that have been frequently conflated: whether an adjective’s applicability is sensitive to a comparison class, and whether an adjective’s applicability is context-dependent.
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  13. Empirically Investigating Imaginative Resistance.Shen-yi Liao, Nina Strohminger & Chandra Sekhar Sripada - 2014 - British Journal of Aesthetics 54 (3):339-355.
    Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of showing (...)
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  14. Mere Exposure to Bad Art.Aaron Meskin, Mark Phelan, Margaret Moore & Matthew Kieran - 2013 - British Journal of Aesthetics 53 (2):139-164.
  15.  64
    The Possibility of Aesthetic Realism.Philip Pettit - 1983 - In Eva Schaper (ed.), Pleasure, preference and value. Cambridge, UK: Cambridge University Press. pp. 17-38.
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  16. Approach to Aesthetics: Collected Papers on Philosophical Aesthetics.Frank Sibley - 2001 - Oxford University Press.
    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 (...)
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  17. Aesthetic and Nonaesthetic.Frank Sibley - 1965 - Philosophical Review 74 (2):135-159.
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  18. Aesthetic Concepts.Frank Sibley - 1959 - Philosophical Review 68 (4):421-450.
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  19. Approach to Aesthetics: Collected Papers on Philosophical Aesthetics.Frank Sibley, John Benson, Betty Redfern, Jeremy Roxbee Cox, Emily Brady & Jerrold Levinson - 2002 - Philosophical Quarterly 52 (207):237-246.
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  20. Judge Dependence, Epistemic Modals, and Predicates of Personal Taste.Tamina Stephenson - 2007 - Linguistics and Philosophy 30 (4):487--525.
    Predicates of personal taste (fun, tasty) and epistemic modals (might, must) share a similar analytical difficulty in determining whose taste or knowledge is being expressed. Accordingly, they have parallel behavior in attitude reports and in a certain kind of disagreement. On the other hand, they differ in how freely they can be linked to a contextually salient individual, with epistemic modals being much more restricted in this respect. I propose an account of both classes using Lasersohn’s (Linguistics and Philosophy 28: (...)
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  21. Disagreements About Taste.Timothy Sundell - 2011 - Philosophical Studies 155 (2):267-288.
    I argue for the possibility of substantive aesthetic disagreements in which both parties speak truly. The possibility of such disputes undermines an argument mobilized by relativists such as Lasersohn (Linguist Philos 28:643–686, 2005) and MacFarlane (Philos Stud 132:17–31, 2007) against contextualism about aesthetic terminology. In describing the facts of aesthetic disagreement, I distinguish between the intuition of dispute on the one hand and the felicity of denial on the other. Considered separately, neither of those phenomena requires that there be a (...)
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  22. Meaning and Context in Children's Understanding of Gradable Adjectives.K. Syrett, C. Kennedy & J. Lidz - 2010 - Journal of Semantics 27 (1):1-35.
    This paper explores what children and adults know about three specific ways that meaning and context interact: the interpretation of expressions whose extensions vary in different contexts ; conditions on the felicitous use of expressions in a discourse context and informative uses of expressions in contexts in which they strictly speaking do not apply. The empirical focus is the use of unmodified gradable adjectives in definite descriptions to distinguish between two objects that differ in the degree to which they possess (...)
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  23. Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
  24.  62
    Ethics and the Limits of Philosophy.Bernard Arthur Owen Williams - 1985 - Harvard University Press.
    By the time of his death in 2003, Bernard Williams was one of the greatest philosophers of his generation. Ethics and the Limits of Philosophy is not only widely acknowledged to be his most important book, but also hailed a contemporary classic of moral philosophy. Presenting a sustained critique of moral theory from Kant onwards, Williams reorients ethical theory towards ‘truth, truthfulness and the meaning of an individual life’. He explores and reflects upon the most difficult problems in contemporary philosophy (...)
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  25. Art and its Objects: With Six Supplementary Essays.Richard Wollheim - 1980 - Cambridge University Press.
    What defines a work of art and determines the way in which we respond to it? This classic reflection was written with the belief that the nature of art has to be understood simultaneously from the artist's as well as the spectator's viewpoint.
     
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  26.  88
    The Beautiful, the Dainty and the Dumpy.Nick Zangwill - 1995 - British Journal of Aesthetics 35 (4):317-329.
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