It is frequently claimed that we can learn very little, if anything, about the aesthetic character of an artwork on the basis of testimony. Such disparaging assessments of the epistemic value of aesthetic testimony contrast markedly with our acceptance of testimony as an important source of knowledge in many other areas. There have, however, been a number of challenges to this orthodoxy of late; from those who seek to deny that such a contrast exists as well as attempts by those (...) who accept the distinction to provide an explanation and defence of the contrast. In Section I, I outline a little of the nature and history of the debate over aesthetic testimony. Section II, focuses on the opposing positions on aesthetic testimony, optimism and pessimism, and takes steps to clarify what exactly is at issue between them. In Section III, I survey considerations which have been adduced in favour of pessimism ranging from brute appeal to intuition to complex argumentation before turning in Section IV, to look at motivations for optimism. Finally, in Section V, I consider some alternative views which claim that, for a variety of reasons, it is a mistake to construe the debate over aesthetic testimony as concerned with the epistemic standing of aesthetic beliefs formed on the basis of testimony. (shrink)

The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted--even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most (...) testimony about art does not have much epistemic value. The situation is somewhat different with respect to aesthetic testimony about nature, proofs, and theories. (shrink)

Judging by our folk appraisals, then, knowledge and action are intimately related. The theories of rational action with which we are familiar leave this unexplained. Moreover, discussions of knowledge are frequently silent about this connection. This is a shame, since if there is such a connection it would seem to constitute one of the most fundamental roles for knowledge. Our purpose in this paper is to rectify this lacuna, by exploring ways in which knowing something is related to rationally acting (...) upon it, defending one particular proposal against anticipated objections. (shrink)

One question about the role of the mental in the determination of practical reason concerns the pro-attitudes: can any set of beliefs, without the help of a desire, rationalize or make reasonable a desire, intention, attempt, or intentional action? After criticizing Michael Smith’s argument for a negative answer to this question, I present two arguments in favor of a positive answer. Another question about the role of the mental in the determination of practical reason concerns belief: what gives you a (...) reason to go to the store, the fact that you’re out of milk or the belief that you’re out of milk? The two questions about the mental are connected. I argue that if we give a positive answer to the first question and reject the Humean Theory of Motivation, we cannot accept the currently favored conception of normative reasons as determined by the facts. For the anti-Humean, normative reasons must be determined by the agent’s perspective. (shrink)

The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility (...) of deriving knowledge from a non- aesthetic description. If this were to be a real possibility, it would certainly disprove the Acquaintance Principle, but its impossibility would not establish it. Furthermore, if the way knowledge were to be derived from a non- aesthetic description were through its enabling a person to imagine the object, a defender of the Acquaintance Principle might simply deem imagining to be a form of first-hand experience. I focus on the possibility of acquiring aesthetic knowledge through reliable testimony because here there is a style of argument that, if correct, would rule out the possibility of knowledge of an item's aesthetic properties being transmitted to someone who lacks the requisite first-hand experience, and the manoeuvre of including imagining under the head of first-hand experience is not available. An argument of this kind is, I believe, the only possible way of establishing the Acquaintance Principle. I try to show that this style of argument fails and that the Acquaintance Principle should be rejected. (shrink)

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