Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental (...) class='Hi'>philosophical aesthetics as public philosophy. We set the stage by considering the significance and current state of efforts in public philosophy, and by introducing the emerging sub-discipline of experimental philosophical aesthetics. Then, we discuss the research and outreach aspects of the two events on the aesthetics of coffee. Finally, we conclude by reflecting on the prospects and potential pitfalls of experimental philosophy as public philosophy. (shrink)

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 (...) class='Hi'>aesthetics, aesthetic epistemology, aesthetic concepts, and imagination, as well as research from other disciplines that not only are relevant to philosophy of aesthetics but also open new avenues of research for experimental philosophy of aesthetics. Overall, we conclude that the birth of an experimental philosophy of aesthetics is good news not only for aesthetics but also for experimental philosophy itself, as it contributes to broaden the scope of experimental philosophy. (shrink)

Although experimental philosophy is now over a decade old, it has only recently been introduced to the domain of philosophical aesthetics. So why is there already a need to defend it? Because, as I argue in this paper, we can anticipate the three main types of objection generally addressed to experimental philosophy and show that none of them concern experimental philosophers in aesthetics. I begin with some general considerations about experimental philosophy and its, (...) sometimes conflicting, characteristics. This framework is designed to help me situate the experimental practice in aesthetics within the general movement. I then present the objections and respond to them in turn. Their failure should convince aestheticians to embrace the practice early on and opponents of experimental philosophy to revise their usual objections before addressing them to experimental philosophers in aesthetics. (shrink)

In this paper I will discuss some issues related to a recent trend in experimental philosophy (or x-phi), and try to show the reasons of its late (and scarce) involvement with aesthetics, compared to other areas of philosophical investigation. In order to do this, it is first necessary to ask how an autonomous experimental philosophy of aesthetics could be related to the long-standing tradition of psychological experimental aesthetics. After distinguishing between a “narrow” and (...) a “broad” approach of experimental philosophy, I will then make a distinction between topics in aesthetics pertaining to perceptual and cognitive processes, and traditional issues involved in the analysis of general and culturally-laden concepts. The narrow program of experimental philosophy, focused on the investigation of folk intuitions, is particularly effective only when two general conditions are met: the use of hypothetical scenarios (testing of thought experiments) and the heuristic role of folk intuitions in drawing philosophically relevant conclusions. I will argue that, when aesthetics is concerned, these requirements are not easily met. These difficulties notwithstanding, I will support a pluralistic view where aesthetics is revealed as an instructive example of how experimental approaches and traditional “armchair” philosophy integrate, and enrich each other. (shrink)

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 (...) class='Hi'>experimental psychology can bring light as well as warmth to the old debate over “What is art?”. (shrink)

One aim of this essay is to contribute to understanding aesthetic communication—the process by which agents aim to convey thoughts and transmit knowledge about aesthetic matters to others. Our focus will be on the use of aesthetic adjectives in aesthetic communication. Although theorists working on the semantics of adjectives have developed sophisticated theories about gradable adjectives, they have tended to avoid studying aesthetic adjectives—the class of adjectives that play a central role in expressing aesthetic evaluations. And despite the wealth of (...) attention paid to aesthetic adjectives by philosophical aestheticians, they have paid little attention to contemporary linguistic theories of adjectives. We take our work to be a first step in remedying these lacunae. In this paper, we present four experiments that examine one aspect of how aesthetic adjectives ordinarily function: the context-sensitivity of their application standards. Our results present a prima facie empirical challenge to a common distinction between relative and absolute gradable adjectives because aesthetic adjectives are found to behave differently from both. Our results thus also constitute a prima facie vindication of some philosophical aestheticians’ contention that aesthetic adjectives constitute a particularly interesting segment of natural language, even if the boundaries of this segment might turn out to be different from what they had in mind. (shrink)

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 that the results do not support the main premise of the argument, we discuss the consequences for Aesthetic Realism and address possible objections to our study. (shrink)

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 (...) how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

It is generally agreed upon that philosophers of art rely on their intuitions to justify or criticize proposed definitions of art. Experimental philosophers, however, have questioned the role of intuition in philosophy, since empirical research shows that philosophers’ intuitions are neither widely shared nor reliable sources of justification. This article aims to apply these experimental challenges to the project of defining art. It will be demonstrated that while experimentalists are right in claiming that philosophers' intuitions cannot be used (...) as epistemic grounds for the definition of art, experimental research itself cannot contribute much to the project of defining art. (shrink)

This paper focuses on two interrelated issues about the prospects for research projects in experimental philosophical logic. The first issue is about the role that logic plays in such projects; the second involves the role that experimental results from the cognitive sciences play in them. I argue that some notion of logic plays a crucial role in these research projects, and, in turn, the results of these projects might inform substantive debates in the philosophy of logic.

Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and (...) experimental aesthetics, and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics. (shrink)

Some experimental philosophers have criticized the standard intuition-based methodology in philosophy. One worry about this criticism is that it is just another version of the general skepticism toward the evidential efficacy of intuition, and is thereby subject to the same difficulties. In response, Weinberg provides a more nuanced version of the criticism by targeting merely the philosophical use of intuition. I contend that, though Weinberg’s approach differs from general skepticism about intuition, its focus on philosophical practices gives (...) rise to a new difficulty. Most extant experimental surveys investigate intuitions about particular cases through vignettes giving little contextual information. However, philosophical practices crucially depend on intuitions about general claims and typically provide more contextual background. I argue that, due to these two differences between surveys’ and philosophers’ appeals to intuition, Weinberg’s critique lacks enough support from current experimental data. I conclude that experimental philosophers who engage in the negative program should pay more attention on testing philosophers’ use of general intuitions and context-rich intuitions. (shrink)

Experimental philosophy is one of the most exciting and controversial philosophical movements today. This book explores how it is reshaping thought about philosophical method. Experimental philosophy imports experimental methods and findings from psychology into philosophy. These fresh resources can be used to develop and defend both armchair methods and naturalist approaches, on an empirical basis. This outstanding collection brings together leading proponents of this new meta-philosophical naturalism, from within and beyond experimental philosophy. They (...) explore how the empirical study of philosophically relevant intuition and cognition transforms traditional philosophical approaches and facilitates fresh ones. Part One examines important uses of traditional "armchair" methods which are not threatened by experimental work and develops empirically informed accounts of such methods that can potentially stand up to experimental scrutiny. Part Two analyses different uses and rationales of experimental methods in several areas of philosophy and addresses the key methodological challenges to experimental philosophy: Do its experiments target the intuitions that matter in philosophy? And how can they support conclusions about the rights and wrongs of philosophical views? Essential reading for students of experimental philosophy and metaphilosophy, _Experimental Philosophy, Rationalism, and Naturalism_ will also interest students and researchers in related areas such as epistemology and the philosophies of language, perception, mind and action, science and psychology. (shrink)

One view of philosophy that is sometimes expressed, especially by scientists, is that while philosophers are good at asking questions, they are poor at producing convincing answers. And the perceived divide between philosophical and scientific methods is often pointed to as the major culprit behind this lack of progress. Looking back at the history of philosophy, however, we find that this methodological divide is a relatively recent invention. Further, it is one that has been challenged over the past decade (...) by the modern incarnation of experimental philosophy. How might the reincorporation of empirical methods into philosophy aid the process of making philosophical progress? Building off of the work of Sytsma (2010), we argue that one way it does so is by offering a means of resolving some disputes that arise in philosophy. We illustrate how philosophical disputes may sometimes be resolved empirically by looking at the recent experimental literature on intuitions about reference. (shrink)

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.

This volume contains surveys of the main issues in philosophical aesthetics, as discussed by thinkers from ancient Greece to modern times.

Philosophical aesthetics is an area in which many strands of contemporary philosophical thinking meet. The contributors to this volume are aware of the wider logical, epistemological, moral and metaphysical implications raised by conceptual problems specific to aesthetics. Three themes recur and are taken up from different angles in several of the papers: pleasure – its nature and role in the experience of art and beauty; preference – figuring prominently in aesthetic appraising, appreciating and judging; and value (...) – aesthetic value in particular, and the status of value in general. As these themes interweave, the complexities of aesthetics bring into focus some of the central issues in the philosophy of mind. The authors argue their cases with professional expertise and perceptive understanding of the arts, making significant and original contributions. This book should be of interest not only to philosophers but also to the readers who know, care and theorise about the arts. All the essays were commissioned for this volume, which is part of an informal series of books emerging from meetings sponsored by the Thyssen Foundation. (shrink)

Gender, race, and sexuality are not just identities; they are also systems of social organization – i.e., systems of privilege and oppression. This article addresses two main ways privilege and oppression are relevant topics in and for philosophical aesthetics: the role of the aesthetic in privilege and oppression, and the role of philosophical aesthetics, as a discipline and a body of texts, in constructing and naturalizing relations of privilege and oppression . The first part addresses how (...) systems of privilege and oppression use the aesthetic. I will discuss various ways race, gender, and sexuality, as both embodied identities and broader social institutions, work with and through “the aesthetic”. The second part addresses racism and sexism in the discipline of aesthetics. Both in its history and its present practice aesthetics’apparent neutrality on questions of privilege and oppression is actually evidence of its investment in systems of privilege and oppression. (shrink)

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 uses of adjectives and of the aesthetic significance of tastes and smells, a topic Sibley considered to be much neglected. (shrink)

This book examines the role of Samuel Beckett in contemporary philosophical aesthetics, primarily through analysis of both his own essays and the various ...

The purpose of the dissertation is to present a philosophical reading of Balthasar's teaching on the polarity of expression and form in beauty. ;Chapter I, "Expression," presents the concept of expression in the context of the aesthetic doctrine of Wahrheit. It confronts Balthasar's teaching about expression with an alternate view. On the basis of the clarification achieved in this confrontation, the chapter turns to some major texts from Herrlichkeit in which Balthasar unfolds the structure of expression. ;Chapter II, "Form," (...) presents Balthasar's concept of form and develops it by a presentation of some historical sources. The results of the presentation are then summarized in an exposition of some of the main metaphors used by Balthasar to describe form. ;Chapter III, "Beauty," turns to Balthasar's thesis that beauty implies the polarity of expression and form. It gives an exposition of the central metaphor of light and compares Balthasar's teaching with that of Dionysius the Areopagite, St. Thomas, and St. Bonaventure. The chapter ends with an introduction to two major developments which converge in the doctrine of participation. ;Chapter IV, "The Expression of Free Interiority in Man," presents Balthasar's analysis of the aesthetic structure of man. The two main questions discussed are how free interiority can be preserved in expression, and whether free interiority necessarily gives rise to a conventional medium of expression. ;Chapter V, "The Expression of God in Creatures," turns to the summit of Balthasar's philosophical aesthetics. It present his teaching on the apprehension of an absolute horizon of free love that lies in the awakening of the human spirit. This teaching is unfolded in a presentation of Balthasar's interpretation of the Thomistic doctrine of participation in existence . The chapter ends by pointing to the center of Balthasar's philosophical aesthetics, developing especially his thesis that the center of the light which appears in beauty remains inchoative and open to a final revelation of God's glory. ;The "Theological Epilogue" of the dissertation presents Balthasar's teaching on the appearing of trinitarian love in the expressive form of Jesus. It describes, thus, the apex of the whole of his aesthetics. (shrink)

This article deals with the ambigous situation of philosophical aesthetics, which now seems to have lost its proper object. Moreover, Arthur C. Danto has popularized talk of an end of art, in which he ties that end to the end of any aesthetic master narrative. Comparing modern and medieval approaches to art, this paper tries to reformulate the question of philosophical aesthetics, which has to be understood in a hermeneutical way. Taken in a heuristic manner 'art' (...) and 'beauty' remain the principal aesthetic categories able to keep the understanding of what belongs to aesthetics open to different historical approaches. (shrink)

The topic is experimental philosophy as a naturalistic movement, and its bearing on the value of intuitions in philosophy. This paper explores first how the movement might bear on philosophy more generally, and how it might amount to something novel and promising. Then it turns to one accomplishment repeatedly claimed for it already: namely, the discrediting of armchair intuitions as used in philosophy.

His own approach to aesthetics was unusually pure. Frank Sibley wrote lapidary essays that remain models of a type of philosophical prose in which distinctions are carefully drawn, arguments are patiently developed, and a clarity of overall conception is achieved through a great economy of means. The virtues most often mentioned in connection with Sibley are those of this type of prose. But his philosophical approach was pure in another—and more substantive—sense too. Sibley characteristically investigated conceptual issues (...) that were identifiable without regard to specific aesthetic contexts. For instance, when Sibley discussed gracefulness, the particular point he had in mind could, if he so chose, be made about a vase, a line in a painting, the arch of a person’s eyebrow, or a pebble. We might think that such a procedure would severely constrain the interestingness of what an aesthetician has to say, and yet time and again Sibley shows us how much there is to gain from it. If being a phenomenologist means having a keen eye for elusive but potentially vital features of our experience, then Sibley, as a phenomenologist of the aesthetic, has no peers. (shrink)

The article begins with a sociologically triumphalist critique of philosophical aesthetics, grounded in the work of Ernest Gellner and Emile Durkheim. It proceeds to note the practical failure of this kind of sociology to become institutionalized within the wider discipline. It explores a number of possible explanations for this failure, but finally suggests that a normalized sociology of art requires a normalized conception of art itself, such as that tentatively advanced by Pierre Bourdieu and Franco Moretti. The article (...) also has an autobiographical subtext. (shrink)

Approach to Aesthetics represents the realization of a project that Frank Sibley, who died in January 1996, did not live to complete on his own. The volume not only brings together Sibley’s major published papers on philosophical aesthetics but also includes five hitherto unpublished pieces written in his later years. These five pieces, some originally prepared by Sibley for oral presentation, were left by him in virtually complete versions and have needed only the kind of editorial attention (...) required to meet the exigencies of publication. Never having presented his views on aesthetics in a single book-length study, Sibley eventually came to see the publication of a collection of his most significant papers as a viable substitute. In asking the editors, shortly before his death, to undertake this project, Sibley himself provided a list of the published papers that he wanted to include as well as a second list of unpublished work that he wanted the editors to consider. There can be no doubt, therefore, that the current volume faithfully reflects Sibley’s wishes and intentions—and this to a very fine detail. The first eleven items in the collection are presented in the precise order in which Sibley listed them for the editors. Moreover, the title of the volume and even the two epigraphs were his choice. (shrink)

Philosophical aesthetics is an area in which many strands of contemporary philosophical thinking meet. The contributors to this volume are aware of the wider logical, epistemological, moral and metaphysical implications raised by conceptual problems specific to aesthetics. Three themes recur and are taken up from different angles in several of the papers: pleasure – its nature and role in the experience of art and beauty; preference – figuring prominently in aesthetic appraising, appreciating and judging; and value (...) – aesthetic value in particular, and the status of value in general. As these themes interweave, the complexities of aesthetics bring into focus some of the central issues in the philosophy of mind. The authors argue their cases with professional expertise and perceptive understanding of the arts, making significant and original contributions. This book should be of interest not only to philosophers but also to the readers who know, care and theorise about the arts. All the essays were commissioned for this volume, which is part of an informal series of books emerging from meetings sponsored by the Thyssen Foundation. (shrink)

This article presents a historical account and philosophical analysis of the development of philosophical aesthetics in China in its Marxist regime, focusing on the relation between subject and object. It enters into the picture of the search for new philosophical aesthetics in Marxist China and engages the related debates and reforms. The representing four schools of aesthetics in the early decades of the new China are introduced, which were led by Gao Ertai, Cai Yi, (...) Zhu Guangqin and Li Zehou. Each of them presents a different relationship between the subject and the object in the aesthetics process and initiates debates and controversies among themselves. In the 1990s aestheticians of the younger generation suggested a modern aesthetics system in which a new aesthetics notion was reconstructed. The article analyzes the nature and the structure of this notion “ganxing”, and demonstrated the struggles in its search for a balance and merge integration among traditional Chinese aesthetics, Contemporary Western philosophies and Marxist aesthetics. Finally, this article also points out the Deweyan influences on the notion which is popular in PRC, and demonstrates that Chinese aesthetics in the contemporary scene has more concerns to add on, which is the application of its new aesthetical thoughts to the rapidly developing art scenes and social changes in contemporary China. (shrink)

With appealing modesty, Savile sets out to establish and justify only one specific element of philosophical aesthetics: the "test of time." The "test of time" is of course the traditional appeal by art-critics to longevity as a necessary and sufficient condition of great art. Recently, the test of time has suffered a great deal of vituperation from practitioners of aesthetics; indeed, one might even go so far as to say that holding this notion has been regarded as (...) a mark of philosophical naivete. Therefore Savile's task in The Test of Time is made difficult not only by the inherent complexity of the issue but also by the baleful glare of conventional wisdom. (shrink)

Musical listening, looking at paintings and literary creation are activities that involve perceptual and cognitive activity and so are of interest to psychologists and other scientists of the mind. What sorts of interest should philosophers of the arts take in scientific approaches to such issues? Opinion currently ranges across a spectrum, with 'take no notice' at one end and 'abandon traditional philosophical methods' at the other. This collection of essays, originating in a Royal Institute of Philosophy conference at the (...) Leeds Art Gallery in 2012, represents many of the most interesting positions along that spectrum. Contributions address issues concerning aesthetic testimony, the processing and appreciation of poetry, the aesthetics of disgust, imagination, genre, evolutionary constraints on art appreciation, creativity, musical cognition and the limitations or productiveness of empirical enquiry for philosophical aesthetics. (shrink)

Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical (...) theorizing with illustrative examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management (...) of dialogue; and it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history. (shrink)

Philosophical conceptual analysis is an experimental method. Focusing on this helps to justify it from the skepticism of experimental philosophers who follow Weinberg, Nichols & Stich. To explore the experimental aspect of philosophical conceptual analysis, I consider a simpler instance of the same activity: everyday linguistic interpretation. I argue that this, too, is experimental in nature. And in both conceptual analysis and linguistic interpretation, the intuitions considered problematic by experimental philosophers are necessary but (...) epistemically irrelevant. They are like variables introduced into mathematical proofs which drop out before the solution. Or better, they are like the hypotheses that drive science, which do not themselves need to be true. In other words, it does not matter whether or not intuitions are accurate as descriptions of the natural kinds that undergird philosophical concepts; the aims of conceptual analysis can still be met. (shrink)

More and more these days it is asked whether aesthetics is still possible. A question that, given the context and phrasing, seems to direct us towards its answer. Conferences and meetings, books and journal specials examine the issue of aesthetics, talk about rediscovery or return of aesthetics. Well known philosophers and aestheticians underscore the need to reconsider the foundations of aesthetics and set new directions for aesthetics today (Berleant, 2004) or attempt to expand aesthetics (...) beyond aesthetics–like Welsch, for example who tries to extend aesthetics beyond art to society and the life-world (Welsch, 1997). Others underline the need to revisit the aesthetic experience (Shusterman, 1999; Iseminger, 2002, Fenner, 1996) and examine the relevance or irrelevance of the aesthetic with art (Carroll, 2001). It seems that it is strongly recommended to turn to aesthetics on the condition however to carefully re-approach the meaning and import of the term in the present situation. The aesthetic that Passmore condemned as “dreary”(Passmore, 1954), the one Sparshott considered a formless conception, vague and loose in application (Sparshott, 1982), the same that Danto emphatically argues that has nothing to do with the definition of art or arts in general (Danto, 1981) returns to claim its rightful place in the fields of philosophy and critical theory (Levine, 1994, Michaud, 1999), as well as artistic creation. And one cannot but wonder: what does this return mean? What was the degree of aesthetics decline that we need to discuss about recovery or for new implementations of aesthetics? (shrink)

I discuss experimental work by Nichols, and Nichols and Knobe, with respect to the philosophical problems of free will and moral responsibility. I mention some methodological concerns about the work, but focus principally on the philosophical implications of the work. The experimental results seem to show that in particular, concrete cases we are more willing to attribute responsibility than in cases described abstractly or in general terms. I argue that their results suggest a deep problem for (...) traditional accounts of compatibilism, and that they may cast some light on the literature surrounding Frankfurt cases. I also suggest a way in which mature philosophical convictions about free will may reflect a contingent process of refining and defending either of two competing strands of intuitions, and suggest that this may partly explain the persistence of philosophical debates about free will. (shrink)

This paper contributes to the underdeveloped field of experimental philosophy of science. We examine variability in the philosophical views of scientists. Using data from Toolbox Dialogue Initiative, we analyze scientists’ responses to prompts on philosophical issues (methodology, confirmation, values, reality, reductionism, and motivation for scientific research) to assess variance in the philosophical views of physical scientists, life scientists, and social and behavioral scientists. We find six prompts about which differences arose, with several more that look promising (...) for future research. We then evaluate the difference between the natural and social sciences and the challenge of interdisciplinary integration across scientific branches. (shrink)

https://www.academia.edu/32163851/Philosophical_study_of_the_FEELING_accompanying_male_ejaculation_E xperimental_Philosophy_Part_1_SURVEY_ ABSTRACT This is merely a short,‭ ‬preliminary study of the FEELING accompanying male ejaculation.‭ -/- It consists of‭ ‬10‭ ‬questions and one unstructured expression and/or personal description by the respondent of the subjective experience of the‭ ‘‬feeling‭’ ‬undergone,‭ ‬experienced or‭ ‘‬felt‭’ ‬during or accompanying male orgasm and ejaculation.‭.

The present paper consists of two parts. In the first, some issues related to the character of biological experiments conducted under in vitro cultures are portrayed. The relevant aspects of these procedures are explicated from the viewpoint of the experimental botanist. It is a case study for the considerations in the second part, which presents selected philosophical and legal issues involved in biological experiments from the general perspective of philosophical investigations concerning the problem of plants’ axiology. Obviously, (...) the nature of the considerations is limited; not all important questions from the perspective of biology and philosophy have been raised. Nevertheless, the authors hope that the analyzed issues may be interesting for both biologists and philosophers. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and ideas of (...) tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

Recent philosophical discussion about the relation between fiction and reality pays little attention to our moral involvement with literature. Frank Palmer's purpose is to investigate how our appreciation of literary works calls upon and develops our capacity for moral understanding. He explores a wide range of philosophical questions about the relation of art to morality, and challenges theories that he regards as incompatible with a humane view of literary art. Palmer considers, in particular, the extent to which the (...) values and moral concepts involved in our understanding of human beings can be said to enter into our understanding of, and response to, fictional characters. The scope of his discussion encompasses literary aesthetics, ethics, and epistemology, and he makes extensive reference to literary examples. (shrink)

The Myth of the Intuitive: Experimental Philosophy and Philosophical Method. By Deutsch Max.