What makes aestheticvalueaesthetic? What makes aestheticvaluevalue? Suppose we call the first question the aesthetic question and the second the normative question. Strict perceptual formalism—the view according to which the aestheticvalue of an object is value it has strictly in virtue of its visual, auditory, tactile, gustatory, or olfactory properties is an answer to the aesthetic question. Hedonism—the view according to which the aesthetic (...) class='Hi'>value of an object is value it has in virtue of some pleasure it gives—is an answer to the normative question. If we combine answers, we arrive at a view according to which the aestheticvalue of an object is the value it has in virtue of the pleasure it gives strictly in virtue of its perceptual properties. I refer to this view as the default theory of aestheticvalue. Insofar as a theory of aestheticvalue takes the default theory as its starting point, I refer to it as a version of the standard theory of aestheticvalue. This paper does not argue that the default theory fails as a theory of aestheticvalue. It argues that the default theory fails as a default theory—that the default theory is the wrong point from which to begin theorizing about aestheticvalue. It argues, in other words, that standard theories of aestheticvalue fail as theories of aestheticvalue because they take the default theory as their point of departure. (shrink)
Recent attention to the relationship between aestheticvalue and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aestheticvalue of a work can influence its cognitive value. More narrowly, I consider whether a work's aestheticvalue ever contributes to or detracts from its philosophical value, which I take to include the truth of (...) its claims, the strength of its arguments, and its internal consistency. I argue that aestheticvalue does have such an impact, at least sometimes and to some degree. The aesthetic merits of some works help to preserve their consistency, and the aesthetic defects of other works render them self-contradictory. (shrink)
This entry surveys issues at the intersection of art and morality. Particular emphasis is placed on whether, and in what way, the moral character of a work of art influences its artistic value. Other topics include the educational function of art and artistic censorship.
_ Source: _Volume 5, Issue 2, pp 323 - 343 The following article attempts to bring critical realism to bear on the changing nature of aestheticvalue. Beginning with the transitive-intransitive distinction, it is advised that we withhold judgment on the possibility of aesthetic judgment, lest we commit the epistemic fallacy. Without hoping to attain a form of aestheticvalue absolutism, a strategy of ‘eliminative realism’ is introduced, which seeks to remove false causes of apparent (...) judgmental relativism. Then a rough sketch of the ontology of art works and art practices is made in order to provide sufficient complexity for the changing aspects of value from different points of view and assumptions. Finally, a case study is given, in the creation of a market of African slingshots in the 1908s, and the theory is tested. The article closes with a plea to take aestheticvalue seriously, as a requirement of ideological discussion. (shrink)
This is a response to invited and submitted commentary on "The Pleasure of Art," published in Australasian Philosophical Reviews 1, 1 (2017). In it, I expand on my view of aesthetic pleasure, particularly how the distinction between facilitating pleasure and relief pleasure works. In response to critics who discerned and were uncomfortable with the aesthetic hedonism that they found in the work, I develop that aspect of my view. My position is that the aestheticvalue of (...) a work of art is its capacity to elicit from a suitably well-informed consumer a specific kind of pleasure. (shrink)
In the Critique of the Power of Judgment, Kant diagnoses an antinomy of taste: either determinate concepts exhaust judgments of taste or they do not. That is to say, judgments of taste are either objective and public or subjective and private. On the objectivity thesis, aestheticvalue is predicable of objects. But determining the concepts that would make a judgment of taste objective is a vexing matter. Who can say which concepts these would be? To what authority does (...) one appeal? On the subjectivity thesis, aestheticvalue is not predicable of objects. But this threatens judgments of taste with a sort of relativism. Can we not firmly assert the aestheticvalue of any object? Have we no authority to make criticisms of taste? Following John McDowell’s “AestheticValue, Objectivity and the Fabric of the World”, I will hold that aestheticvalue is neither objective nor subjective, but rather intersubjective. But, contra McDowell, I will argue that the validity that intersubjective aestheticvalue bestows on judgments of taste must assume an indeterminate absolute conception of reality, of the world as it is in itself. Only such a conceptual resource can in turn make intelligible the notion of a shared or common sense according to which a judgment of taste can be universally valid, that is, valid for all subjects. Finally, I will consider an objection to common sense in matters of taste. (shrink)
It has been claimed by Diana Raffman, that atonal (and in particular serial) music can have no aestheticvalue, because it is in an important sense meaningless. This worthlessness is claimed to result from cognitive/psychological facts about human listeners that have been confirmed by empirical investigations such as those conducted by Lerdahl and Jackendoff. Similar assertions about the necessary inferiority of 12-tone music have been made by, among others, Taruskin, Cavell, and Goldman, some of whom echo Raffman’s suggestion (...) that both composers and performers of atonal music are committing a kind of fraud. This paper responds to all of those allegations. In particular, it points out that even if the empirical claim about human cognitive capacities with respect to the discernment of “local structure” in atonal works is assumed to be correct (which is actually quite doubtful), all the arguments brought by the “prosecution” against atonal music that rely on this claim are invalid. It is noted that such arguments by tonality advocates somewhat ironically rely on their own variety of what Taruskin has called “the poietic fallacy,” a gaff which he has frequently accused serialists (and perhaps alea supporters) of committing. Readers are reminded that the main basis for claims of aesthetic worth (or worthlessness) can never be primarily theoretical, but must be principally based on the experiences of beholders. (shrink)
It is often suggested that aesthetic and ethical value judgements are similar in such a way that they should be analysed in analogous manners. In this paper, I argue that the two types of judgements share four important features concerning disagreement, motivation, categoricity, and argumentation. This, I maintain, helps to explain why many philosophers have thought that aesthetic and ethical value judgements can be analysed in accordance with the same dispositional scheme which corresponds to the analogy (...) between secondary qualities and values. However, I argue that aesthetic and ethical value judgements differ as regards their fundamental structures. This scheme is mistaken as regards ethical value judgements, but it is able to account for aestheticvalue judgements. This implies that aestheticvalue judgements are autonomous in relation to ethical value judements and that aestheticians, not moral philosophers, are the true heirs of this renowned analogy. (shrink)
This paper offers a critical analysis of Robert Stecker’s account of aesthetic experience and its relation to aesthetic and artistic values. The analysis will demonstrate that Stecker’s formulation of aesthetic experience as it stands is incompatible with his arguments for nonaesthetic artistic values. Rather than multiplying the values associated with aesthetic experience, a deeper understanding of that experience will best serve to clarify problems at the core of the discipline.
And indeed we think it not manly to perform music, except when drunk or for fun.Composing, performing, and listening are three familiar musical practices, each having various forms and manifestations. Aestheticvalue is usually ascribed to objects—whether artistic or natural. But “object” needs to be understood here in a very wide sense, including, for example, a theatrical production or a ballet. In dealing with music, I assume that complete works are the primary bearers of such value, but (...) we need not deny it from the practices of composing and performing, for they are imbued with those properties and aspects that make their products objects of aestheticvalue. I shall not deal with the many problems raised by... (shrink)
Abstract: Every sentient organism needs constantly to re-assess its environment in order to adjust to any changes in it and to ascertain which aspects are, or become, salient for its current purposes. Such adaptation is of basic evolutionary importance, but for human beings it can be difficult to achieve in the face of radical novelty or when different frames of reference are in conflict. Art by virtue of its integrated structure presents examples of how a partial unification of experience may (...) be envisaged. Art thus helps to meet our constant need for orientation and re-orientation, though its operation in this respect is invariably outside consciousness. So art can be said to have intrinsic value only within a strictly subjective, phenomenological perspective; more broadly considered from a third-person viewpoint, the value of art is instrumental. Questions then arise concerning our motivation for seeking or producing art, about the relation of art to other cultural activities, and about the role of pleasure in connection with aesthetic experience; these are briefly discussed. (shrink)
Kant's account of aestheticvalue is easily ignored or subordinated by the recent stress on the primacy of the practical in his system. For Kant, vindicating reason not only requires a methodological distinction between principles of thought and knowledge on the one side, and of action and morality on the other, but the introduction of a third "faculty," feeling, along with its own principle of judgment. Christine Korsgaard has interpreted Kant's overall account of rationality in terms of a (...) kind of rationalist constructivism, the spirit of which she traces to his humanism. She argues that, for Kant, the source of all value is ultimately humanity itself, or, to be more precise, humanity insofar as it is capable of full rational autonomy. Kant's own statement of the primacy of practical reason turns out to be far from clear. (shrink)
At the heart of aesthetics lie fundamental questions about value in art and the objectivity of aesthetic valuation. A theory of aestheticvalue must explain how the properties of artworks contribute to the values derived from contemplating and appreciating works of art. When someone passes judgment on a work of art, just what is it that is happening, and how can such judgments be criticized and defended?In this concise survey, intended for advanced undergraduate students of aesthetics, (...) Alan Goldman focuses on the question of aestheticvalue, using many practical examples from painting, music, and literature to make his case. Although he treats a wide variety of views, he argues for a nonrealist view of aestheticvalue, showing that the personal element can never be factored out of evaluative aesthetic judgments and explaining why this is so. At the same time, he argues for certain common effects of highly esteemed artworks.Along the way Goldman considers such key topics as interpretation, representation, expression, and taste. His text will be a valuable contribution to the teaching of aesthetics as well as to the understanding of these topics on the part of students and scholars in philosophy and the arts. (shrink)
In many artworks, both aesthetic and ethical values are present, and both can contribute to the overall artistic value of a work. The question explored in this paper is: does the presence of one kind of value affect the degree of the other? For example, does a work that expresses a morally reprehensible attitude diminish the aestheticvalue of a work? Let ‘interaction’ name the view that the presence of one kind of value affects (...) the degree of the other. We will argue in favour of the existence of interaction. However, we will argue further that such interaction is a contingent feature of artworks and that the most common argument that has been offered for interaction—the affective -response -argument—fails to identify the main reason why it holds, when it in fact does. (shrink)
The dominant view about the nature of aestheticvalue holds it to be response-dependent. We believe that the dominance of this view owes largely to some combination of the following prevalent beliefs: 1 The belief that challenges brought against response-dependent accounts in other areas of philosophy are less challenging when applied to response-dependent accounts of aestheticvalue. 2 The belief that aestheticvalue is instrumental and that response-dependence about aestheticvalue alone accommodates (...) this purported fact. 3 The belief that response-dependence about aestheticvalue alone accommodates the widely acknowledged anthropocentricity of aestheticvalue. 4 The belief that response-dependence about aestheticvalue alone accommodates aesthetic normativity. We argue that each of these beliefs is false, and that the dominance of response-dependent accounts of aestheticvalue is therefore largely without foundation. (shrink)
What possesses aestheticvalue? According to a broad view, it can be found almost anywhere. According to a narrower view, it is found primarily in art and is applied to other items by courtesy of sharing some of the properties that make artworks aesthetically valuable. In this paper I will defend the broad view in answering the question: how should we characterize aestheticvalue and other aesthetic concepts? I will also criticize some alternative answers.
Aesthetics is a normative domain. We evaluate artworks as better or worse, good or bad, great or grim. I will refer to a positive appraisal of an artwork as an aesthetic appreciation of that work, and I refer to a negative appraisal as aesthetic depreciation. (I will often drop the word “aesthetic.”) There has been considerable amount of work on what makes an artwork worthy of appreciation, and less, it seems, on the nature of appreciation itself. These (...) two topics are related, of course, because they nature of appreciation may bear on what things are worthy of that response, or at least on what things are likely to elicit it. So I will have some things to say about the latter. But I want to focus in this discussion on appreciation itself. When we praise a work of art, when we say it has aestheticvalue, what does our praise consist in? This is a question about aesthetic psychology. I am interested in what kind of mental state appreciation is. What kind of state are we expressing when we say a work of art is “good”? This question has parallels in other areas of value theory. In ethics, most notably, there has been much attention lavished on the question of what people express when they refer to an action as “morally good.” One popular class of theories, associated with the British moralists and their followers, posits a link between moral valuation and emotion. To call an act morally good is to express an emotion toward that act. I think this approach to morality is right on target (Prinz, 2007). Here I want to argue that an emotional account of aesthetic valuation is equally promising. There are important differences between the two domains, but both have an affective foundation. I suspect that valuing of all kinds involves the emotions. Here I will inquire into the role of emotions in aesthetic valuing. I will not claim that artworks express emotions or even that they necessarily evoke emotions.. (shrink)
The relationship between aestheticvalue and other moral and cognitive values has been a key theme within contemporary aesthetic discussion. In this article, I explore once again the implications of this relationship, but from what I think might be a different angle. With few exceptions, notably Dominic Lopes, most of the contributions to this issue have dealt with the impact that moral or cognitive values could possibly have on the overall aestheticvalue of a work (...) of art. In this article, I explore instead how aesthetic properties or merits could play a role in explaining moral and cognitive properties. To do so, I first offer some examples that I think may reasonably exemplify the phenomenon we are considering. Second, I argue that a proper account of interactionism should meet at least two constraints: the relevance constraint and the autonomy constraint. Finally, I try to clarify how it is possible that aesthetic properties substantially contribute to other values by appealing to the notions of expression and the affective character of aesthetic properties. (shrink)
This paper affirms the proposition, denied by albert hofstadter ("journal of philosophy", volume 59, 1962), that the study of the meaning and ground of value judgments is a proper branch of aesthetics. hofstadter objects that the use of 'aestheticvalue' involves a "category mistake"; however, this objection is based on an apparent failure to understand a derivative or instrumental definition. hofstadter's own position is also criticized. it is argued (a) that his theory of aesthetic validity, while (...) commendable in some respects, is too abstract and too general; and (b) that beauty is not a necessary condition of aestheticvalue, a proposition strongly objected to by hofstadter. (staff). (shrink)
This paper focuses on the most widely accepted candidate for the essential aspect of artistic value: aestheticvalue. The idea that aestheticvalue pervades artworks that are valuable at all, was put into doubt by a number of artistic movements that arose in the twentieth century such a Dada and its descendants including conceptual art. Recently, a number of philosophers have tried to resurrect aesthetic essentialism, as I will call the idea that aesthetic (...)value is at the core of artistic value. The purpose of this paper is to argue that this project hasn’t and won’t succeed. (shrink)
[FIRST PARAGRAPHS] From Plato through Aquinas to Kant and beyond beauty has traditionally been considered the paradigmatic aesthetic quality. Thus, quite naturally following Socrates' strategy in The Meno, we are tempted to generalize from our analysis of the nature and value of beauty, a particular aestheticvalue, to an account of aestheticvalue generally. When we look at that which is beautiful, the object gives rise to a certain kind of pleasure within us. Thus (...)aestheticvalue is characterized in terms of that which affords us pleasure. Of course, the relation cannot be merely instrumental. Many activities may lead to consequent pleasures that we would not consider to be aesthetic in any way. For example, playing tennis, going swimming or finishing a book. Rather it is in the very contemplation of the object itself that we derive pleasure. As Kant puts it: We dwell on the contemplation of the beautiful because this contemplation strengthens and reproduces itself. The case is analogous (but analogous only) to the way we linger on a charm in the representation of an object which keeps arresting the attention, the mind all the while remaining passive. Thus contemporary philosophers have, following this tradition, defined aestheticvalue in terms of our delighting in and savouring an object with pleasure.* An object is of intrinsic aestheticvalue if it appropriately gives rise to pleasure in our contemplation of it. Of course background knowledge of particular art movements, cate- gories or artistic intentions may be required to perceive an artwork appropriately. Nonetheless, given the relevant understanding, it is in attending to and savouring uhat is presented to us that we are afforded pleasure. (shrink)
From Plato through Aquinas to Kant and beyond beauty has traditionally been considered the paradigmatic aesthetic quality. Thus, quite naturally following Socrates' strategy in The Meno, we are tempted to generalize from our analysis of the nature and value of beauty, a particular aestheticvalue, to an account of aestheticvalue generally. When we look at that which is beautiful, the object gives rise to a certain kind of pleasure within us. Thus aesthetic (...)value is characterized in terms of that which affords us pleasure. Of course, the relation cannot be merely instrumental. Many activities may lead to consequent pleasures that we would not consider to be aesthetic in any way. For example, playing tennis, going swimming or finishing a book. (shrink)
The Aesthetic Appreciation of Nature I advance a view of the aestheticvalue of nature that Glenn Parsons seeks to contest. Here I attempt to show three things. The first is that his critique of my view of the aestheticvalue of a natural thing is malfounded. The second is that his proposed alternative, which is intended to vindicate the claim to objectivity of certain judgements of the aestheticvalue of a natural thing, (...) is unconvincing. And the third is that, contrary to what he maintains, I am not committed to the alternative he proposes through an apparent tension in my position, for there is no such tension. (shrink)
The article is part of a longer argument, the gist of which stands in direct opposition to the claim implied by the article’s title. The ambition of that larger whole is to offer a theory of art evaluation together with a theoretical model showing how aestheticvalue judgements can be inter-subjectively tested and justified. Here the author therefore plays devil’s advocate by citing, strengthening, and inventing arguments against the very possibility of justification or explanation of aesthetic judgements. (...) The reason is his conviction that such arguments have not been fully met. The article is thus intended as a challenge: any theory of art evaluation which assumes, or tries to establish, that some works of art are better than others or that aesthetic judgements are not just statements expressing personal likes and dislikes, should show how such arguments can be demolished. (shrink)
The U.S. Supreme Court recently held that a parody by the rap group 2 Live Crew of Ray Orbison's song "Oh, Pretty Woman" was "fair use" and thus did not infringe the copyright. Although the court insisted that it was not evaluating the quality of the parody, I argue that it does in fact make several aesthetic evaluations and sometimes even seems to praise the content of the parody. I ﬁrst consider the stated reasons for the claimed refusal of (...) the court to evaluate aesthetic quality. Second, I examine the evaluations which the court in fact does make, at least some of which are clearly aesthetic evaluations. I then argue that aestheticvalue judgments are both necessary and possible for determinations of "fair use" for such works as the "Pretty Woman" parody. (shrink)
In Art in Context: Understanding AestheticValue, philosopher David Fenner presents a straightforward, accessible overview of the arguments about the importance of considering the relevant context in determining the true merit of a work of ...
Local food is often defended on environmental grounds. However, environmental defenses of local food are flawed, and all environmental defenses are limited as they at most establish that local food is instrumentally valuable. These deficiencies motivate a different approach. By drawing on the aesthetics of engagement, a theory of environmental aesthetics, I argue that local food has an overlooked intrinsic value; it can allow people to become engaged with—and thereby aesthetically appreciate—the environment. My argument charts a comparatively neglected area (...) of aesthetics: the aesthetics of taste and smell and, more specifically, the role that these senses play in the aesthetic appreciation of the environment. (shrink)
One issue for theory is to account convincingly for the value of art and the significance of its specifically aesthetic character. Appeal to imagination, understood along Kantian lines as functioning to construct ‘a second nature from the material supplied by actual nature’, generates suggestive answers to both aspects of the task. The second nature that the artist inventively constructs in fine representation is one in which themes central to the inner life are revealed in ways as unestranging to (...) us as their nature permits; then, in their aesthetic realization we take them into ourselves directly in experience, with concomitant affect. Thereby the values they convey are liable either to become our own or else to modify established ones. Whether they do so stably or not may depend on our having achieved a firmly enough rooted sense of self. Imagination has traditionally been seen as contributing aesthetically to that too in the elaboration of the sublime, as much within the realm of art as in nature itself. Forms of art resisting such modes of reflection will need to look to theory to put something no less vital in their place. (shrink)
The practice of attributing aesthetic properties to scientific and philosophical theories is commonplace. Perhaps one of the most famous examples of such an aesthetic judgement about a theory is Quine's in 'On what there is': "Wyman's overpopulated universe is in many ways unlovely. It offends the aesthetic sense of us who have a taste for desert landscapes". Many other philosophers and scientists, before and after Quine, have attributed aesthetic properties to particular theories they are defending or (...) rejecting. One often hears that a view is "elegant", "attractive", "beautiful", or even "sexy". [...] The general claim that aesthetic properties supervene on non-aesthetic properties is a largely debated one. In this paper, I wish to address this issue from an angle which has not been really explored so far: I shall neither concentrate on cases of artefacts nor of natural objects, like the beauty of a painting or the beauty of a sunrise, rather, my main centre of attention will be the somewhat more special, theoretical case of the beauty of philosophical theories (with a focus on metaphysical theories). As we will see, there are some interesting issues concerning claims that attribute aesthetic properties to theories, in part because, even if such claims are commonplace in philosophy and in science, little has been said about the nature of the relevant supervenience basis – that is, about what it is exactly that the beauty of a theory is supposed to supervene on. Moreover, we shall see that aesthetic properties of theories play a crucial role in theory choice and evaluation. Indeed, it seems that the aesthetic properties of a theory can be appealed to in theory evaluation and when it comes to preferring one theory over another. But before we ask ourselves what role the attribution of aesthetic properties to theories can play, I will adress the question how theories come to have their aesthetic properties in the first place. (shrink)
To say that an object is beautiful or ugly is seemingly to refer to a property of the object. But it is also to express a positive or negative response to it, a set of aesthetic values, and to suggest that others ought to respond in the same way. Such judg- ments are descriptive, expressive, and normative or prescriptive at once. These multiple features are captured well by Humean accounts that analyze the judgments as ascribing relational properties. To say (...) that an object is beautiful is to say, in part, that it is such as to elicit a response expressing pleasure in certain observers. The observers in question must not be ignorant, biased, insensitive, or of poor taste, and they must not base their evaluations on aesthetically irrelevant properties of the objects they judge. The reference to the object's "being such . . ." captures the objective side of the relation; refer- ence to the pleasurable response captures the expressive function of these judgments; and the ideal properties of the observers suggest that others ought to judge in the same way. (shrink)
In this paper I trace a theoretical path along Meinong’s works, by means of which the notion of aesthetic object as well as the changes this notion undergoes along Meinong’s output will be highlighted. Focusing especially on "Über emotionale Präsentation", I examine, on the one hand, the cognitive function of emotions, on the other hand, the objects apprehended by aesthetic emotions, i.e. aesthetic objects. These are ideal objects of higher order, which have, even though not primarily, the (...) capacity to attract aesthetic experiences to themselves. Hence, they are connected to emotions, being what is presented by them. These results are achieved on the basis of a fundamental analogy between the domain of value and the aesthetic domain. Finally, the notion of an absolute beauty is discussed. (shrink)
Although recent work in philosophical aesthetics has brought welcome attention to the beauty of nature, the aesthetic appreciation of animals remains rarely discussed. The existence of this gap in aesthetic theory can be traced to certain ethical difficulties with aesthetically appreciating animals. These difficulties can be avoided by focusing on the aesthetic quality of “looking fit for function.” This approach to animal beauty can be defended against the view that “looking fit” is a non-aesthetic quality and (...) against Edmund Burke’s famous critique of the connection between fitness and the beauty of animals. (shrink)
Pain is modulated by cognitive factors, including attention and emotions. In this study we evaluated the distractive effect of aesthetic appreciation on subjectively rated pain and multi-channel evoked potentials induced by CO2 laser stimulation of the left hand in twelve healthy volunteers. Subjects were stimulated by laser in the absence of other external stimulation and while looking at different paintings they had previously rated as beautiful, neutral or ugly. The view of paintings previously appreciated as beautiful produced lower pain (...) scores and a clear inhibition of the P2 wave amplitude, localized in the anterior cingulate cortex; the inhibition of P2 wave amplitude was lesser or not significant during the presentation of the ugly or neutral paintings, respectively. Dipole source localization analysis of the LEP peaks showed significant changes during different conditions, with a shift from the posterior to the anterior right cingulated cortex while looking at paintings previously rated as beautiful. (shrink)
In this article I start by assuming that positive aesthetic experiences of damaged nature are possible and I argue for the idea that the aesthetic pleasure derived from that contemplation might reveal something of the environment’s overall character. I hope to show that positive aesthetic experiences sometimes help to promote emotional attitudes that can lead to insight into the configuration of other non-aesthetic attitudes. In order to do so, I critically appeal to some of the thoughts (...) Kant articulated about the notion of aesthetic experience and its relationship to cognition and morality. I think that the sort of experience I am after in this article cannot be easily accommodated within a Kantian framework and that the possibility of positive aesthetic experience of damaged nature will show that the relationships between the aesthetic and the cognitive or the moral are more complex and enriching than they have so far been acknowledged to be. (shrink)
A searching examination of marx's writings reveals that he has no single, Consistent theory of the economic basis of art. The more extreme marxist position, With its metaphor of economic base and cultural superstructure, Is misleading and belies marx's own deeper insight. His doctrine of creativity, And of alienation and its overcoming, Is aesthetic in tinge, And points to a less reductionist theory than that of orthodox marxism.
Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aestheticvalue. Breaking with tradition, some now say that art works bear artistic value, as distinct from aestheticvalue. I argue that there is no characteristic artistic value distinct from aestheticvalue. The argument for this thesis suggests a new way to think about aestheticvalue as it is characteristically (...) realized by works of art. (shrink)
It has become increasingly common for philosophers to make use of the concept of artistic value, and, further, to distinguish artistic value from aestheticvalue. In a recent paper, ‘The Myth of (Non-Aesthetic) Artistic Value’, Dominic Lopes takes issue with this, presenting a kind of corrective to current philosophical practice regarding the use of the concept of artistic value. Here I am concerned to defend current practice against Lopes's attack. I argue that there (...) is some unclarity as to what aspect of this practice Lopes is objecting to, and I distinguish three kinds of objection that he could be read as making. I argue that none of these is adequately supported by Lopes's arguments, and that the corresponding three aspects of current philosophical practice are on firmer footing than Lopes's paper suggests. A new, plausible characterisation of artistic value will emerge from this discussion. (shrink)
A theory of aestheticvalue should explain the performance of aesthetic experts, for aesthetic experts are agents who track aestheticvalue. Aesthetic empiricism, the theory that an item's aestheticvalue is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the (...) door to an alternative. Aesthetic experts perform a range of actions not aimed at pleasure. Yet their reasons for acting are aesthetic. Since aesthetic values figure in aesthetic reasons, we can read a nonempiricist theory of aestheticvalue off aesthetic experts’ reasons for acting. (shrink)