Beauty is an important part of our lives. Ugliness too. It is no surprise then that philosophers since antiquity have been interested in our experiences of and judgments about beauty and ugliness. They have tried to understand the nature of these experiences and judgments, and they have also wanted to know whether these experiences and judgments were legitimate. Both these projects took a sharpened form in the twentieth century, when this part of our lives came under a sustained attack in (...) both European and American intellectual circles. Much of the discourse about beauty since the Eighteenth century had deployed a notion of the ‘aesthetic’, and so that notion in particular came in for criticism. This disdain for the aesthetic may have roots in a broader cultural Puritanism, which fears the connection between the aesthetic and pleasure. Even to suggest, in the recent climate, that an artwork might be good because it is pleasurable, as opposed to cognitively, morally or politically beneficial, is to court derision. The twentieth century has not been kind to the notions of beauty or the aesthetic. Nevertheless, some thinkers — philosophers, as well as others in the study of particular arts — have persisted in thinking about beauty and the aesthetic in a traditional way. In the first part of this essay, I look at the particular rich account of judgments of beauty given to us by Immanuel Kant. The notion of a ‘judgment of taste’ is central to Kant's account and also to virtually everyone working in traditional aesthetics; so I begin by examining Kant's characterisation of the judgment of taste. In the second part, I look at the issues that twentieth century thinkers have raised. I end by drawing on Kant's accout of the judgement of taste to consider whether the notion of the aesthetic is viable. (shrink)

Are aesthetic judgements cognitive, belief-like states or non-cognitive, desire-like states? There have been a number of attempts in recent years to evaluate the plausibility of a non-cognitivist theory of aesthetic judgements. These attempts borrow heavily from non-cognitivism in metaethics. One argument that is used to support metaethical non-cognitivism is the argument from Motivational Judgement Internalism. It is claimed that accepting this view, together with a plausible theory of motivation, pushes us towards accepting non-cognitivism. A tempting option, then, for (...) those wishing to defend aesthetic non-cognitivism, would be to appeal to a similar argument. However, both Caj Strandberg and Walter Sinnott-Armstong have argued that Internalism is a less plausible claim to make about aesthetic judgements than about moral judgements by raising objections against aesthetic internalism. In this paper, I will argue that both of these objections can be raised against internalism about moral judgements as well. As a result, internalism is no less plausible a claim to make about aesthetic judgements than about moral judgements. I will then show how a theory of internalism about normative judgements in general is capable of avoiding both of these objections. (shrink)

When we judge something to be beautiful, do we identify an inherent feature of the object, or only our subjective response to it? This paper argues that, for Kant, pure aesthetic judgment occupies a middle ground. Such judgments are based upon affective responses to our own cognitive faculties. Thus, pure aesthetic judgment is subjective insofar as it concerns our feeling ourselves to be engaged in a certain task; it is objective insofar as the task we are (...) engaged in is cognition of an object, and the faculties that we are feeling to be at work are the cognitive faculties of the understanding and the imagination. This paper locates this interpretation in the text of the Critique of Aesthetic Judgment in the third Critique and uses it to make sense of many otherwise opaque features of Kant’s account of pure aesthetic judgment. (shrink)

I offer an analysis of the role played by consideration of an item's functions when it is judged aesthetically. The account applies also to artworks, of which some serve extrinsic functions (such as the glorification of God and the communication of religious lore) and others have the function of being contemplated for their own sake alone. Along the way, I deny that aesthetic judgements fit the model of judgements either of free beauty or of dependent beauty, given how these (...) two came to be described in the early twentieth century. (shrink)

This is a collection of four essays on aesthetic, ethical, and political issues by the pre-eminent Kant scholar in Germany today, perhaps best known for rekindling interest in the great classical German tradition from Kant to Fichte.

Many of the methods commonly used to research mathematical practice, such as analyses of historical episodes or individual cases, are particularly well-suited to generating causal hypotheses, but less well-suited to testing causal hypotheses. In this paper we reflect on the contribution that the so-called hypothetico-deductive method, with a particular focus on experimental studies, can make to our understanding of mathematical practice. By way of illustration, we report an experiment that investigated how mathematicians attribute aesthetic properties to mathematical proofs. We (...) demonstrate that perceptions of the aesthetic properties of mathematical proofs are, in some cases at least, subject to social influence. Specifically, we show that mathematicians’ aesthetic judgements tend to conform to the judgements made by others. Pedagogical implications are discussed. (shrink)

I draw a connection between the question, raised by Hume and Kant, of how aesthetic judgments can claim universal agreement, and the question, raised in recent discussions of nonconceptual content, of how concepts can be acquired on the basis of experience. Developing an idea suggested by Kant's linkage of aesthetic judgment with the capacity for empirical conceptualization, I propose that both questions can be resolved by appealing to the idea of "perceptual normativity". Perceptual experience, on this proposal, (...) involves the awareness of its own appropriateness with respect to the object perceived, where this appropriateness is more primitive than truth or veridicality. This means that a subject can take herself to be perceiving an object as she (and anyone else) ought to perceive it, without first recognizing the object as falling under a corresponding concept. I motivate the proposal through a criticism of Peacocke's account of concept-acquisition, which, I argue, rests on a confusion between the notion of a way something is perceived, and that of a way it is perceived as being. Whereas Peacocke's account of concept-acquisition depends on an illicit slide between these two notions, the notion of perceptual normativity allows a legitimate transition between them: if someone's perceiving something a certain way involves her taking it that she ought to perceive it that way, then she perceives the thing as being a certain way, so that the corresponding concept is available to her in perceptual experience. (shrink)

This paper calls into question the view typically attributed to Kant that aesthetic judgements are particularist, resisting all conceptual determination. Instead, it claims that Kant conceives of aesthetic judgements, particularly of art, as playing an important role in therevisionof concepts: one sense in which aesthetic judgements, as Kant defines them, ‘find a universal’ for a given particular. To understand the relation between artistic judgements and concepts requires that we consider what I call Kant’s diachronic account of (...) class='Hi'>aesthetic ideas, or how such judgements unfold in the course of communication and reflection. My reading draws Kant much closer to debates in the philosophy of art on the semantic dimension of artworks. Here, illuminating the way in which aesthetic judgements about art can play a role in conceptual revision allows us to make sense of the way in which modern artworks contest concepts rather than merely presenting or expressing them. (shrink)

Aesthetic experience, as a cognitive activity is a fundamental part of the interaction process in which an agent attempts to interpret his/her environment in order to support the fundamental process of decision making. Proposing a four-level interactive model, we underline and indicate the functions that provide the operations of aesthetic experience and, by extension, of aesthetic judgment. Particularly in this paper, we suggest an integration of the fundamental Peircean semiotic parameters and their related levels of semiotic (...) organization with the proposed model. Our aim is to provide a further theoretical understanding with respect to the perception of aesthetics and to enrich our models regarding the functionality of aesthetic interpretation, using the theoretical interpretive richness provided by the semiotic perspective. (shrink)

Realists about aesthetic judgment believe something like the following: for an aesthetic judgment of be correct, it must respond to the intrinsic aesthetic properties possessed by the object in question (e.g., Meskin et al., 2013; Kieran 2010). However, Cutting’s (2003) empirical research on aesthetic judgment puts pressure on that position. His work indicates that unconscious considerations extrinsic to an artwork can underpin said judgements. This paper takes Cutting’s conclusion a step further: If philosophers (...) grant that it’s possible to appreciate artwork on the basis of unconscious biases, then we never can be fully confident that our aesthetic judgment is undergirded by the intrinsic aesthetic properties of an artwork. Furthermore, if judgment on the basis of unconscious, external reasons cannot be ruled out, we cannot be confident that our aesthetic judgments are ‘correct’. I argue that Cutting’s research is just the tip of the iceberg regarding the extrinsic, unconscious factors that influence aesthetic judgment. Expectation bias formed via social influence and context greatly influence aesthetic judgments and are unavoidable: we inevitably form expectations based on all kinds of contextual cues independently of any actual exposure to the item in question. Such factors make it terribly difficult to be confident in our aesthetic judgments. Even if there are objective properties that mark out some items as aesthetically superior to others, we cannot be sure that our judgments are responding to those properties. (shrink)

Mou Zongsan incorrectly uses Kant's practical reason to interpret Confucianism. The saying that "what is it that we have in common in our minds? It is the il 理 (principles) and the yi 义 (righteousness)" reveals how Mencius explains the origin of il and yi through a theory of common sense. In "the li and the yi please our minds, just as the flesh of beef and mutton and pork please our mouths," "please" is used twice, proving aesthetic (...) class='Hi'>judgment is necessary to understanding Mencius. An analysis of Zhu Xi and Wang Yangming's ideas will show that Confucianism should be interpreted by appealing to aesthetic judgment, and a discussion of Kant's theory of judgment and Gadamer's critique of Kant's theory will support the same point. The conclusion is that Chinese moral philosophy should be interpreted through aesthetic judgment. /// 牟宗三以康德实践理性解说儒学是一错误思路。"心之所同然者何也?谓理 也，义也", 表明孟子以共通感论述理义来源, "理义之悦我心，犹当拳之悦我口" 两用 "悦" 字，证明应当以直感判断力解说孟子。分析朱子、阳明的一些言论证 明以直感判断力解说儒学则若合符节; 并引述康德关于判断力的相关学说、伽达 默尔对康德的批评支持上述论点; 从而主张，中国道德哲学宜以直感判断力来解 释。. (shrink)

에서 선험적 규정은 의지와도 인식과도 관련되지 않는다. 그것은 판단 자체를 다룬다. 그것은 어떻게 무언가가 판단되어야 하는가를 확립한다. 미적 판단은 유쾌함과 불쾌함을 다룬다. 유쾌함은 단순한 감각이 아니라 감정이다. 미적 판단은 나의 본성과 관련되는 판단이지 오성이나 의지와 관련된 것이 전혀 아니다. 그것들은 나로부터 나오는 것이지 자연 자체로부터 나오는 것이 아니다. 그것들은 나로부터 나오지만 유비적인 것들이다. 나는 그것들을 구상하지만 이 일은 마치 나의 자연(본성)을 누군가가 구성하기라도 한 것처럼, 자연이 그것을 구상할 수 있었기라도 한 것처럼 일어난다. 그런 이유로 그 판단들은 반성적인 것이지 규정적인 것이 (...) 아니다. 이 글에서 나는 두 문제를 제기할 것이다. 하나는 단순한 반성으로서의 미적 판단이 어떻게 또한 규정적이고 선험적일 수 있는가? 다른 하나는 단순한 규정적 판단들이 문제가 되든, 아니면 반성적 판단들과 규정적 판단들 사이의 구분이 문제되든, ‘비판’이라는 말은 동일한 의미를 가지는가? 하는 것이다. 나는 과 사이에 칸트 철학의 구조적인 변화가 있다는 것을 보여줄 것이다. (shrink)

Are aesthetic judgements simply expressions of personal preference? If two people disagree about the beauty of a painting are both judgements valid or can someone be mistaken about the aesthetic value of an artwork? This volume brings together some of the leading philosophers of art and language to debate the status of aesthetic judgements.

I offer a critical reconstruction of Kant's thesis that aesthetic judgement is founded on the principle of the purposiveness of nature. This has been taken as equivalent to the claim that aesthetics is directly linked to the systematicity of nature in its empirical laws. I take issue both with Henry Allison, who seeks to marginalize this claim, and with Avner Baz, who highlights it in order to argue that Kant's aesthetics are merely instrumental for his epistemology. My solution is (...) that aesthetic judgement operates as an exemplary presentation of our general ability to schematise an intuition with a concept at the empirical level. I suggest that this counts as an empirical schematism. Although aesthetic judgement is not based on empirical systematicity, it can nevertheless offer indirect support for the latter in so far as it is a particular revelation of purposiveness in general. (shrink)

Prominent positions in the contemporary theoretical field of the humanities tend to conceptualize late modern communities in general as aesthetic communities of taste. In regard to political communities, this means reducing the political to an implication of the aesthetic discourse. This article argues for addressing the aesthetic and the political as distinct discourses that are, on the other hand, always engaged with each other in a conflictual interplay. Both discourses draw on and appeal to the ability of (...) judgement, but according to their own distinct principles, and depending on their respective weight in the conflictual interplay, this entails quite different perspectives with regards to political practice and community formation. (shrink)

The concept of functional beauty is analysed in terms of the role played by beliefs, in particular expectations, in our perceptions. After finding various theories of functional beauty unsatisfying, I introduce a novel approach which explains how aesthetic judgements on a variety of different kinds of functional objects (chairs, buildings, cars, etc.) can be grounded in perceptions influenced by beliefs.

In recent work, Robert Hopkins has argued that aesthetic judgements are autonomous. When a subject finds herself diverging in judgement from a group of others who, while independently applying the same method, have come to some opposing conclusion, then for ordinary empirical matters this is often reason enough for her to suspend judgement, or even to adopt their view, but this happens much more rarely in the case of beauty. Moreover, the opposing view does not act as a defeater (...) to her belief to the same extent as it does in the empirical case. Hopkins argues that this phenomenon, properly understood, poses a distinctive problem for aesthetic cognitivism. Such a result might seem to support a non-cognitivism about aesthetic judgement, but Hopkins argues that one of the most promising such accounts, a particular form of aesthetic quasi-realism, cannot account in a satisfactory way for aesthetic autonomy either. In this paper, I argue that Hopkins's argument is crucially enthymematic. Supplying the relevant premise makes space for an independently motivated explanation of autonomy, which is open to cognitivists and non-cognitivists alike. (shrink)

This paper offers an interpretation of and introduction to the philosophical anthropology of Roger Scruton through an examination of the aesthetic dimension of human rationality. We argue that attending to our aesthetic experience as individuated subjects capable of intersubjective communion offers a helpful corrective to the deracinated and disembodied view of human rationality prevalent in much of our contemporary ethical and scientific discourse. Through a consideration of how embodied rationality is at work in four different forms of art (...) – painting, music, dance, and architecture – our paper develops the rudiments of a more concrete philosophical anthropology, and on the basis of first principles advances a normative claim about the importance of art and beauty to human life. (shrink)

All aesthetic judgements, whether descriptive, evaluative or some combination of the two, and whatever they might be about, whether works of art, artefacts of other kinds, or natural things, declare themselves to be, not mere announcements or expressions of personal responses to the objects of judgement, but claims meriting the agreement of others. Despite the frequent appeal in everyday life to the nihilistic interpretation of the saying ‘It's all a matter of taste’, the doctrine of aesthetic nihilism—the view (...) that such claims are never warranted—does not merit serious attention. What is needed is an articulation of the various kinds of content of aesthetic judgements, one that will reveal what their claim to intersubjective validity amounts to and enable an assessment of what the proper limits of the claim might be. This clarification is what I attempt to provide. After some introductory definitions and classifications, the principal focus of the first part of the paper is descriptive aesthetic judgements, and one issue that figures large is the proper understanding of those judgements of this kind which are expressed in sentences that are intended to be understood metaphorically. A short bridge passage identifies an aesthetic judgement whose content is indicative of the content of evaluative aesthetic judgements of all kinds, and in particular evaluative aesthetic judgements about works of art, which the second part of the paper focuses on. Real illumination of these requires an identification of the aim of art (as such): I offer an account of this aim, which I defend against certain objections that it is liable to attract, and I use it to throw light not just on singular but also on comparative judgements of artistic value. I conclude with some remarks about purely aesthetic value and specifically artistic value and about similarities and differences between evaluative aesthetic judgements of works of art and evaluative aesthetic judgements of works of nature. (shrink)