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.

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.

I consider and reject four possible arguments directed against the preservation of natural aesthetic conditions. (1) Beauty is not out there in nature, but is “in the eye ofthe beholder.” I argue that since ingredients ofnature cause aesthetic experiences, we cannot justifiably disregard and exploit nature. Preservation of aesthetic conditions is compatible with both objective and nonobjective theories of aesthetic value. (2) Frequent aesthetic disagreements bring about irresolvable disputes concerning which segments of nature to preserve. I claim that these (...) disputes are not irresolvable. Not all disputes about nature’s aesthetic values are purely aesthetic disputes: ecological balance, community identity, historic continuity, and economics are relevant; aesthetic experts can help; and such disputes can be put to a vote. (3) Natural beauty is not important compared to nonaesthetic values of nature. I show that this is questionable. Current awareness of environmental problems includes a rapidly growing concern for natural aesthetics. Moreover, even if majority preference is for nonaesthetic uses of nature, this does not settle the question of whether we ought to preserve nature’s attractive features. (4) From neither a utilitarian nor a deontological viewpoint do we have an obligation to preserve natural aesthetic conditions for future generations. I argue that even if we do not have a strict obligation, it does not follow that it makes no moral difference whether we preserve. Not yet existing people may have no rights against us, but this does not mean that we do no wrong in polluting and destroying aesthetic conditions of the natural world in which future people will live. (shrink)

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. (...) Forward by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

I do not by any means with to take on the philosophy or aesthetics of music as a whole. In his review of Edward Lippman’s Humanistic Philosophy of Music, Monroe Beardsley lists six areas in which an ideal philosophy of music ought to provide guidance: an ontology of music, an answer to the question What is a musical work of art? a taxonomy of music, a categorical scheme for the basic and universal aspects of music; a hermeneutics or semiotics of (...) music, an answer to the question What, if anything, can music refer to? an epistemology of music; a theory of music criticism, an answer to the question What makes one musical work better than another? the foundations of a social philosophy of music.4 My subject here is the third item. I want most particularly to separate it from the fifth item, for to arrive at an interpretation of a particular piece is not to arrive at an evaluation of it. I shall also try, particularly in my discussion of Nelson Goodman’s seminal Languages of Art, to avoid the first item.5 And I shall try throughout to avoid embroilment in the question of how the aesthetic experience can be separated from the nonaesthetic.My subject is in fact only a part of the third item above, namely, current theories of musical expression. “Expression” is not equivalent to “meaning”; I understand and shall use the word “expression” to indicate a kind of meaning that entails some kind of reference outside the internal syntax of the artwork itself. As Goodman remarks, “rather obviously, to express is to refer in some way to what is expressed.”6 How this reference is made by the artwork is interaction with the listener, and what sort of purpose it serves—these concerns will be the focus of this essay. To choose this focus is not to deny something of which I have no doubt, both from Peter Faltin’s careful arguments and from my own experience: there is a kind of musical meaning that is purely syntactic, that operates without reference outside the internal operations or procedures of musical systems themselves.7 But through this may be ontologically the most fundamental kind of musical meaning, it is not the only kind. To listen for this alone is not the only way to approach music. Indeed, I should guess it is not the most fundamental way for many listeners. 4. I paraphrase and abbreviate from Monroe C. Beardsley, review of A Humanistic Philosophy of Music by Edward A. Lippman, Musical Quarterly 66 : 305.5. See Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols ; all further references to this work, abbreviated LA, will be included in the text.6. Goodman, “Reply to Beardsley,” Erkenntnis 12, pt. 1 : 171; and see Edward T. Cone: “Expressive values in any art … cannot arise from analytical values alone. How could they? Unless one wishes to explain what it could possibly mean for a work of art to ‘express itself,’ then one must agree that expression, by its very definition, implies a relationship between the work of art and something else; while analytical values are derivable purely from internal structure” . Anthony Newcomb, professor of music at the University of California, Berkeley, is the author of The Madrigal at Ferrara. He is currently at work on a book on musica ficta, Understood Accidentals in Renaissance Vocal Polyphony, 1450-1600, and a study of the relationship between structure and expression in nineteenth-century music. (shrink)

This essay details David Hume’s complex contextualist account of aesthetic properties. Focusing mainly on the essay “Of the standard of taste”, I argue that Hume’s account of aesthetic properties anticipates many points advanced in Kendall Walton’s 1970 essay “Categories of art”, most notably the thesis that proper detection of most aesthetic properties depends on awareness of which nonaesthetic properties are standard, contra-standard, and variable for the relevant category of art. Consequently, they both reject the position we now describe as (...) aesthetic empiricism. Yet there are also distinctive aspects of Hume’s account. Most notably, Hume holds that delicacy of imagination is involved in avoiding prejudice when perceiving nonaesthetic properties. He also proposes that aesthetic terms such as “beauty” and “elegance” capture positively valenced thick concepts because aesthetic properties are necessarily (in part) value properties. (shrink)

What is it to experience the sardonic quality of Mingus' music, the nostalgia of a street-scene, the evanescence of a light installation, or the flowingness of Virginia Woolf's prose? Aesthetic experiences make artworks what they are for us--expressive, enlightening, enjoyable. They ground aesthetic value. How can we best account for them? ;The traditional view of aesthetic perception describes a mode of disinterested contemplation, free from the cognitive and utilitarian strictures conditioning ordinary awareness. Philosophers have challenged this view on analytical, (...) marxist, feminist, pragmatist, and postmodernist grounds. Through interrelation and contextualization requirements, aestheticians have attempted to salvage the notion of an aesthetically appropriate mode of appreciation . But the nature of this kind of appreciation depends on the nature of the small-scale experiential states that form its substance, namely, the experiences of aesthetic properties. ;These experiences are peculiar. Conceptually complexer than pure sensations, and phenomenally richer than sheer imaginings and cognitions, aesthetic experiences exhibit significant parallels and differences with other states of mind. They display a rocky distribution over various sense modalities, a selective sensitivity to contextual factors, and a striking interconnectedness among themselves. Current analyses in terms of cognition, imagination, metaphorical understanding, nonaesthetic sensation, and counterfactual perception have trouble accommodating their coherence and stability. With the assistence of theoretical work on categorization, perception, and qualia , I propose to locate a more fine-grained attitude at the basis of aesthetic experience, involving perceptually driven conceptualizations, arising through processes of progressive phenomenal differentiation. I substantiate this proposal by considering a number of pertinent phenomena in aesthetics, namely the role of imaginings in pictorial and musical perception; the function of artistic categories, and the experience of seeing objects in depictions. ;This view, call it the conceptualizations view, allows us to identify the distinctive artistic functioning of aesthetic experience--its role as an intermediary between different domains of artistic meaning--while respecting its variety and its relations with other forms of mentation. Thus we can clarify its formative role within the aesthetic sphere at large, and, most importantly, its connection with value. (shrink)

The review examines different essays from the context set by the idea of 'everyday aesthetics'. Confronted with the notion of "everyday aesthetics," one is immediately faced with some problems of definition. Such problems potentially threaten the viability of the everyday aesthetics project to extend the scope of philosophical aesthetics, so that, as Jonathan Smith suggests in his introduction to this collection of essays, "nothing in the everyday world (or at least very little) can be supposed devoid of the power to (...) excite an aesthetic response." "Everyday" can mean both "daily" and "ordinary," and while the two definitions often coincide in practice, there's no necessary connection: we can conceive the "daily" as remarkable, and the "ordinary" may not be a regular occurrence. If we focus on the aesthetics of the "daily," we might wonder which particular daily occurrences we can be properly said to experience aesthetically and if this means some reassessment of the category of "aesthetic objects" is required, given that "daily" is so often associated with the mundane, the nonaesthetic. Alternatively, if we conceive an aesthetics of the "ordinary" (with agreement on this classification of certain events and objects), then our notion of the "aesthetic" now seems vulnerable on either of two counts: (1) to claims of incoherence, given any agreement that exemplary aesthetic experience, at least, is fundamentally not of the "ordinary" (and never of the "ugly," of the stained, damp, cracked, and so on, in our domestic lives) but of an extraordinary class of events and objects called "art"; (2) to claims of cognitive and moral triviality (to amorality too, perhaps, that it's possible then, after Thomas de Quincy, to appreciate the way a murder is done), so that the aesthetic response is understood as merely a subjective, noncritical "look and feel" response to (almost) everything. It should be evident, then, that the notion of everyday aesthetics needs clarification before it can be of value to those interested in instructing or helping people to live aesthetic lives, and that such work of clarification gets to the very heart of philosophical aesthetics: answers to questions about what constitutes the "aesthetic" in life will inform all aspects of aesthetic inquiry, education, and practice, including the making and appreciating of artworks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 39-50 MuseSearchJournalsThis JournalContents[Access article in PDF]The Acquisitive AttitudeDavid E. W. FennerAt my university, a small regional university in the south, I teach many "general education" courses in philosophy. The majority of freshmen and sophomores who populate these courses have never seen a dance performance, an opera, a symphony, or a stage play. Many have never been to an art gallery. At this (...) small university we have an active gallery; 1 besides the student and faculty shows each year, we can count on at least a half dozen other exhibitions, either single-artist shows or thematic compilations. Except when prepping for an upcoming show, the gallery is never closed. This means there are ample occasions for me to take my general education students for a visit to the gallery. In preparing them for our little field trip, I try to find a balance between two things. On the one hand, I want to leave the occasion open-ended to promote whatever sorts of personal experiences they may have in connection with viewing the artworks; the idea that they may come out of the gallery thinking this was yet one more meaningless academic exercise they had to endure makes me physically ill (so great is my passion for this opportunity to introduce them to their first art gallery experience). On the other hand, without any structure, many students will walk through the space at a brisk pace and exit quickly. This again would be a serious failure. Therefore, I give them an assignment for their visit, one that is meant to spotlight their potential enjoyment of the gallery while at the same time engaging them critically. The assignment is simple: "choose your favorite piece and be prepared to give some reasons for why this piece is better than the rest; and choose your least favorite piece and be prepared to offer some reasons for why this piece is worse than the rest." The reasons that I get back, in support of both of their judgments, frequently turn on traditional things like the representational quality of the (mimetic) work, the emotional content—either expressed or inspired—and formal considerations like balance and elegance. The conflation between identifying artistic [End Page 39] merit and their own, perhaps fairly naive, reactions is something I do not worry about at this level. This conflation may be warranted in certain theories of artistic worth—and it is something I am sympathetic to—but the real point is to encourage in the students a connection between enjoyment of the experience of viewing art and viewing it with a critical eye. If I can introduce just that one concept, the field trip has been a success. I can build on that later.I take a "critical thinking" approach to art criticism. I believe that the evaluative aspects of art criticism essentially have to do with advancing claims for which arguments and evidence can be offered. If critical thinking means seeking out and being able to advance reasons for the adoption or holding of a position, and this requires the logical skills involved with correct argument formulation and the epistemic skills involved with quality evidence gathering, then art criticism is essentially critical thinking applied to a certain content: art. Art evaluation happens in two arenas. First, there are issues of context and issues of subjectivity (Where did this work come from? Who did it? How does this work relate to other works and other times? How does this work connect to values other than purely aesthetic—or, better, artistic—ones, such as moral ones?). The effects of these sorts of considerations are relative to the viewer, her access and attention to information about the work, and the experience of viewing. The second arena is the one internal to the work itself. This is the formalist arena. Advancing a claim concerning the work's possession of a certain aesthetic feature generally takes the form of evidencing that possession on the basis of the work's possession of certain nonaesthetic, or... (shrink)

A notion of "good work," derived from William Morris and the Arts and Crafts Movement but also part of a wider tradition in philosophy (associated with pragmatism and Everyday Aesthetics) understanding the global significance of, and opportunities for, aesthetic experience, grounds both art making and appreciation in the organization of labor generally. Only good work, which can be characterized as "authentic" or as unalienated conditions of production and reception, allows the arts to thrive. While Arts and Crafts sometimes promotes a (...) limited aesthetic (both theoretically and stylistically) around handicraft, a good-work aesthetic theory encompasses a broader range of working methods and materials without compromising the core Arts and Crafts "authenticity" principles of control over production and creative autonomy. Moreover, it gives weight to the equally important role of spectators by linking their aesthetic education to good work in their working lives and, in turn, to the success of artworks. The theory delivers insights into the nature of works as collaborative projects and the developmental courses, participatory and esoteric, open to the arts generally; and it is a robust counter to anti-aestheticism and intellectualism in the theory and practice of the arts. William Morris and the artist-craftsmen and -women of the Arts and Crafts Movement have a theory of art and the aesthetic that has an importance beyond their own artistic work and its achievements. Morris delivered lectures on the arts in many British towns and cities in the 1870s, 1880s, and 1890s; these were published as Hopes and Fears for Art and later as a volume of his collected works.1 The movement codified and publicized its practices through various societies and organizations like the Arts and Crafts Exhibition Society and Charles Ashbee's Guild and School of Handicraft, each producing its own literature, which ranged from practical handbooks to political exhortations. Later, William Lethaby's lectures, often to organizations that were part of the movement, were published as Form in Civilisation.2 To that extent, then, a Morrisian or Arts and Crafts aesthetic theory has to be constructed from sources that were necessarily rhetorical, as well as being practical and theoretic. Morris and Lethaby were explicitly aiming to influence current artistic practice through their lectures to audiences usually composed of artists, architects, civic leaders, and so on (and this no doubt at least partly accounts for their neglect in philosophical aesthetics). Still, I will argue that this reconstructed theory is sufficiently coherent and sophisticated to be worth investigating for its relevance to contemporary debates in analytic aesthetics, particularly against those arguing for art as a nonaesthetic activity (of which the seminal text remains Arthur Danto's "The Artworld"), and for its arguments for art's connections (as an activity of both making and experiencing artworks) with other life experiences.3 In these respects, then, in the history of aesthetics it is a forerunner of, or at least has intellectual associations with, pragmatist aesthetics (yet it is often unacknowledged within that paradigm, so neither Dewey's Art as Experience nor the more recent pragmatist works by Richard Shusterman cite Morris) and shares ground associated with the Everyday Aesthetics movement.4In arguing for the theoretic and historic significance of a Morrisian aesthetic, I take encouragement and a lead from Paul Guyer's recent acknowledgement of the neglect of Morris in accounts of the history of philosophical aesthetics. Guyer names Morris, along with Schiller, Ruskin, and Dewey, as properly understanding the full significance of the distinctive character of aesthetic experience. As Guyer writes, they understood that aesthetic experience is distinctive in its freedom from our most immediate obsessions with purpose and utility, but that the freedom it thereby allows us is not a freedom for the simple contemplation of beauty with no further concerns or implications, but rather a freedom to develop our imaginative and cognitive capacities, to gain knowledge of ourselves and others, and to imagine new ways of life, a freedom that is valued not simply for its own sake but also because of the benefits the developments of these capacities can bring to the rest of our lives. (shrink)

Ethical reasoning of all types is anthropocentric, in that it is addressed to agents, but anthropocentric starting points vary in the preference they accord the human species. Realist claims about environmental values, utilitarian reasoning and rights-based reasoning all have difficulties in according ethical concern to certain all aspects of natural world. Obligation-based reasoning can provide quite strong if incomplete reasons to protect the natural world, including individual non-human animals. Although it cannot establish all the conclusions to which anti-speciesists aspire, it (...) may establish many of them with some clarity. (shrink)

Ralph Wedgwood gives a general account of what it is for states of mind and processes of thought to count as rational. Whether you are thinking rationally depends purely on what is going on in your mind, but rational thinking is a means to the goal of getting things right in your thinking, by believing the truth or making good choices.

When we talk about intellectual property, it is often implicitly assumed that we are talking about private intellectual property. However, private property and the idea of private ownership do not exhaust the possibilities for accounts of ownership and of property. There are other ways that ownership can operate, such as common property. A resource is common property if its use is ‘governed by rules whose point is to make them available for use by all or any members of the society.’.

Value capture occurs when an agent’s values are rich and subtle; they enter a social environment that presents simplified — typically quantified — versions of those values; and those simplified articulations come to dominate their practical reasoning. Examples include becoming motivated by FitBit’s step counts, Twitter Likes and Re-tweets, citation rates, ranked lists of best schools, and Grade Point Averages. We are vulnerable to value capture because of the competitive advantage that such crisp and clear expressions of (...) class='Hi'>value have in our private reasoning and our public justification. There is, however, a price. In value capture, we take a central component of our autonomy — our ongoing deliberation over the exact articulation of our values — and we outsource it. And the metrics to which we outsource usually engineered for the interests of some external force, like a large-scale institution’s interest in cross-contextual comprehensibility and quick aggregability. That outsourcing cuts off one of the key benefits to personal deliberation. In value capture, we no longer adjust our values and their articulations in light of own rich experience of the world. Our values should often be carefully tailored to our particular selves or our small-scale communities, but in value capture, we buy our values off the rack. In some cases – like decreasing CO2 emissions – the costs of non-tailored values are outweighed by the benefit of precise collective coordination. In other cases, like in our aesthetic lives, they are not. This suggests that we should want different values suited to different scales. We should want value federalism. Some values are perhaps best pursued at the largest-scale level, others at smaller scales. The problem occurs when we exhibit an excess preference for the largest-scale values – when we consistently let the universal metrics swamp our quieter interests. (shrink)

The value of knowledge has always been a central topic within epistemology. Going all the way back to Plato’s Meno, philosophers have asked, why is knowledge more valuable than mere true belief? Interest in this question has grown in recent years, with theorists proposing a range of answers. But some reject the premise of the question and claim that the value of knowledge is ‘swamped’ by the value of true belief. And others argue that statuses other than (...) knowledge, such as justification or understanding, are distinctively valuable. We will call the general question of why knowledge is valuable the value problem. (shrink)

Suppose there is no God. This might imply that human life is meaningless, that there are no moral obligations and hence people can do whatever they want, and that the notions of virtue and vice and good and evil have no place. Erik J. Wielenberg believes this view to be mistaken and in this book he explains why. He argues that even if God does not exist, human life can have meaning, we do have moral obligations, and virtue is possible. (...) Naturally, the author sees virtue in a Godless universe as different from virtue in a Christian universe, and he develops naturalistic accounts of humility, charity, and hope. The moral landscape in a Godless universe is different from the moral landscape in a Christian universe, but it does indeed exist. Value and Virtue in a Godless Universe is a tour of some of the central landmarks of this under-explored territory. (shrink)

Value pluralists believe in multiple dimensions of value. What does betterness along a dimension have to do with being better overall? Any systematic answer begins with the Strong Pareto principle: one thing is overall better than another if it is better along one dimension and at least as good along all others. We defend Strong Pareto from recent counterexamples and use our discussion to develop a novel view of dimensions of value, one which puts Strong Pareto on (...) firmer footing. We conclude by defending Dimensionalism, the hypothesis that overall value relations are determined solely by how things compare along value dimensions. These are first steps towards a more systematic value pluralism. (shrink)

Abstract: In this article, I offer a proposal to clarify what I believe is the proper relation between value maximization and stakeholder theory, which I call enlightened value maximization. Enlightened value maximization utilizes much of the structure of stakeholder theory but accepts maximization of the long-run value of the firm as the criterion for making the requisite tradeoffs among its stakeholders, and specifies long-term value maximization or value seeking as the firm’s objective. This proposal (...) therefore solves the problems that arise from the multiple objectives that accompany traditional stakeholder theory. I also discuss the Balanced Scorecard, which is the managerial equivalent of stakeholder theory, explaining how this theory is flawed because it presents managers with a scorecard that gives no score—that is, no single-valued measure of how they have performed. Thus managers evaluated with such a system (which can easily have two dozen measures and provides no information on the tradeoffs between them) have no way to make principled or purposeful decisions. The solution is to define a true (single dimensional) score for measuring performance for the organization or division (and it must be consistent with the organization’s strategy), and as long as their score is defined properly, (and for lower levels in the organization it will generally not be value) this will enhance their contribution to the firm. (shrink)

This book, like the practice of medicine itself, is about the value of life. Health care is one of the clearest and most visible expressions of a society's ...

What is the most general common set of attributes that characterises something as intrinsically valuable and hence as subject to some moral respect, and without which something would rightly be considered intrinsically worthless or even positively unworthy and therefore rightly to be disrespected in itself? This paper develops and supports the thesis that the minimal condition of possibility of an entity's least intrinsic value is to be identified with its ontological status as an information object. All entities, even when (...) interpreted as only clusters of information, still have a minimal moral worth qua information objects and so may deserve to be respected. The paper is organised into four main sections. Section 1 models moral action as an information system using the object-oriented programming methodology (OOP). Section 2 addresses the question of what role the several components constituting the moral system can have in an ethical analysis. If they can play only an instrumental role, then Computer Ethics (CE) is probably bound to remain at most a practical, field-dependent, applied or professional ethics. However, Computer Ethics can give rise to a macroethical approach, namely Information Ethics (IE), if one can show that ethical concern should be extended to include not only human, animal or biological entities, but also information objects. The following two sections show how this minimalist level of analysis can be achieved. Section 3 provides an axiological analysis of information objects. It criticises the Kantian approach to the concept of intrinsic value and shows that it can be improved by using the methodology introduced in the first section. The solution of the Kantian problem prompts the reformulation of the key question concerning the moral worth of an entity: what is the intrinsic value of x qua an object constituted by its inherited attributes? In answering this question, it is argued that entities can share different observable properties depending on the level of abstraction adopted,and that it is still possible to speak of moral value even at the highest level of ontological abstraction represented by the informational analysis. Section 4 develops a minimalist axiology based on the concept of information object. It further supports IE's position by addressing five objections that may undermine its acceptability. (shrink)

In the only two articles on the topic of which I am aware, Chad Carlson and Scott Aikin have leveled three objections against fantasy sports—namely, that participation in fantasy sports elicits...

William James famously tells us that there are two main goals for rational believers: believing truth and avoiding error. I argues that epistemic consequentialism—in particular its embodiment in epistemic utility theory—seems to be well positioned to explain how epistemic agents might permissibly weight these goals differently and adopt different credences as a result. After all, practical versions of consequentialism render it permissible for agents with different goals to act differently in the same situation. -/- Nevertheless, I argue that epistemic consequentialism (...) doesn’t allow for this kind of permissivism and goes on to argue that this reveals a deep disanalogy between decision theory and the formally similar epistemic utility theory. This raises the question whether epistemic utility theory is a genuinely consequentialist theory at all. (shrink)

This book is a comprehensive account of what it means to try to quantify health in distributing resources for health care. It examines the concept of QALYs which supposedly makes it more accurate to talk about life in terms of both quality and quantity of years lived when referring to health care policy. It offers an elegant new approach to comparing the costs and benefits of medical interventions. Cost-Utility Analysis is a method designed by economists to aid decision makers distribute (...) scarce resources to areas of health care where they will yield the greatest benefits. Erik Nord questions the feasibility of measuring patients' quality of life meaningfully in numerical terms, as CUA presupposes. He presents an alternative approach called cost-value analysis in which representative samples of the general public express preferences between different health-care programs. In this approach, subjects are allowed to include concerns for fairness that go beyond concerns for efficiency of conventional health economics. (shrink)

This book defends Aestheticism- the claim that everything is aesthetically valuable and that a life lived in pursuit of aesthetic value can be a particularly good one. Furthermore, in distilling aesthetic qualities, artists have a special role to play in teaching us to recognize values; a critical component of virtue. I ground my account upon an analysis of aesthetic value as ‘objectified final value’, which is underwritten by an original psychological claim that all aesthetic values are distal (...) versions of practical values. This is followed by systematic accounts of beauty, sublimity, comedy, drama, and tragedy, as well as appendix entries on the cute, the cool, the kitsch, the uncanny, the horrific, the erotic, and the furious. (shrink)

The value of knowledge has always been a central topic within epistemology. Going all the way back to Plato’s Meno, philosophers have asked, why is knowledge more valuable than mere true belief? Interest in this question has grown in recent years, with theorists proposing a range of answers. But some reject the premise of the question and claim that the value of knowledge is ‘swamped’ by the value of true belief. And others argue that statuses other than (...) knowledge, such as justification or understanding, are distinctively valuable. We will call the general question of why knowledge is valuable the value problem. (shrink)

According to one tradition, the virtues and vices should be understood in terms of their relation to value. But inside this tradition, there are three distinct proposals: virtues are intrinsically valuable; virtues are instrumentally valuable; or a hybrid proposal on which virtues are either intrinsically or instrumentally valuable. In this paper, I offer an alternative proposal inside this tradition. I propose that virtues and vices should be understood in terms of the degreed properties of being virtuous and being vicious, (...) which I analyze in terms of the value and disvalue of actions and attitudes. I defend my proposal as the best inside this tradition by showing how it is immune from standard problems the other three proposals face. (shrink)

What distinguishes preference utilitarianism from other utilitarian positions is the axiological component: the view concerning what is intrinsically valuable. According to PU, intrinsic value is based on preferences. Intrinsically valuable states are connected to our preferences being satisfied.

Firms are central to wealth creation and distribution, but their role in economic inequality in a society remains poorly studied. In this essay, we define and distinguish value distribution from value creation and value appropriation. We identify four value distribution mechanisms that firms engage in and argue that shareholder wealth maximization approach skews the value distribution toward shareholders and top executives, which in turn contributes to rising economic inequalities around the world. We call on organizational (...) scholars to study the value distribution role of firms and its consequences for society, and introduce the articles in this volume of the special issue on economic inequality, business, and society. (shrink)

This paper explores the relationship between the ascription of value to an object and an assessment of conative attitudes taken towards that object. It argues that this relationship is captured by an a priori necessary truth that falls out of the mastery conditions for the concept of value: what has value is worth valuing, when valuing is understood to be a relatively stable conative attitude distinct from judging valuable. What kind of assessment of attitude is at stake? (...) How are we to understand the worth-relation that holds between an object and the attitude? It is argued that deontological, evaluative and alethic eluciations of the worth-relation are wrongheaded. We should be looking for a mind-world relation that marks a success in how the emotional and motivational energies integral to valuing are directed: a success that does not consist in meeting a deontic requirement, in exemplifying value, or in representing truly. (shrink)

The topic of personal identity has prompted some of the liveliest and most interesting debates in recent philosophy. In a fascinating new contribution to the discussion, Peter Unger presents a psychologically aimed, but physically based, account of our identity over time. While supporting the account, he explains why many influential contemporary philosophers have underrated the importance of physical continuity to our survival, casting a new light on the work of Lewis, Nagel, Nozick, Parfit, Perry, Shoemaker, and others. Deriving from his (...) discussion of our identity itself, Unger produces a novel but commonsensical theory of the relations between identity and some of our deepest concerns. In a conservative but flexible spirit, he explores the implications of his theory for questions of value and of the good life. (shrink)

The exploration of chemical periodicity over the past 250 years led to the development of the Periodic System of Elements and demonstrates the value of vague ideas that ignored early scientific anomalies and instead allowed for extended periods of normal science where new methodologies and concepts are developed. The basic chemical element provides this exploration with direction and explanation and has shown to be a central and historically adaptable concept for a theory of matter far from the reductionist frontier. (...) This is explored in the histories of Prout’s hypothesis, Döbereiner Triads, element inversions necessary when ordering chemical elements by atomic weights, and van den Broeck’s ad-hoc proposal to switch to nuclear charges instead. The development of more accurate methods to determine atomic weights, Rayleigh and Ramsey’s gas separation and analytical techniques, Moseley’s X-ray spectroscopy to identify chemical elements, and more recent accelerator-based cold fusion methods to create new elements at the end of the Periodic Table point to the importance of methodological development complementing conceptual advances. I propose to frame the crossover from physics to chemistry not as a loss of accuracy and precision but as an increased application of vague concepts such as similarity which permit classification. This approach provides epistemic flexibility to adapt to scientific anomalies and the continued growth of chemical compound space and rejects the Procrustean philosophy of reductionist physics. Furthermore, it establishes chemistry with its explanatory and operational autonomy epitomized by the periodic system of elements as a gateway to other experimental sciences. (shrink)

:One view of practical reasoning is that it involves the weighing of reasons. It is not clear, however, how the weights of reasons combine, especially given the logical and substantive relations among different reasons. Nor is it clear how the weighing of reasons relates to decision theoretic maximization of expected value. This paper constructs a formal model of reasons and their weight in order to shed light on these issues. The model informs philosophical debates about reasons, such as the (...) question of whether reasons or values are more fundamental and the opposing doctrines of atomism and holism about reasons. (shrink)

This paper argues that although moral intuitions are insufficient for making judgments on new technological innovations, they maintain great utility for informing responsible innovation. To do this, this paper employs the Value Sensitive Design (VSD) methodology as an illustrative example of how stakeholder values can be better distilled to inform responsible innovation. Further, it is argued that moral intuitions are necessary for determining stakeholder values required for the design of responsible technologies. This argument is supported by the claim that (...) the moral intuitions of stakeholders allow designers to conceptualize stakeholder values and incorporate them into the early phases of design. It is concluded that design-for-values (DFV) frameworks like the VSD methodology can remain potent if developers adopt heuristic tools to diminish the influence of cognitive biases thus strengthening the reliability of moral intuitions. (shrink)

Epistemology is normative. This normativity has been widely recognized for a long time, but it has recently come into direct focus as a central topic of discussion. The result is a recent and large turn towards focusing on epistemic value. I’ll start by describing some of the history and motivations of this recent value turn. Then I’ll categorize the work within the value turn into three strands, and I’ll discuss the main writings in those strands. Finally, I’ll (...) explore some themes that are ripe for further development. (shrink)

Community acceptance still remains a challenge for wind energy projects. The most popular explanation for local opposition, the Not in My Backyard effect, has received fierce criticism in the past decade. Critics argue that opposition is not merely a matter of selfishness or ignorance, but that moral, ecological and aesthetic values play an important role. In order to better take such values into account, a more bottom-up, participatory decision process is usually proposed. Research on this topic focusses on either stakeholder (...) motivations/attitudes, or their behavior during project implementation. This paper proposes a third research focus, namely the ‘objects’ which elicit certain behavioral responses and attitudes—the wind turbine and parks. More concretely, this paper explores Value Sensitive Design as way to arrive at wind turbines and parks that better embed or reflect key values. After a critical discussion of the notion of acceptance versus acceptability and support, the paper discusses existing literature on ecology and aesthetics in relation to wind turbine/park design, which could serve as ‘building blocks’ of a more integral VSD approach of the topic. It also discusses the challenge of demarcating wind park projects as VSD projects. A further challenge is that VSD has been applied mainly at the level of technical artifacts, whereas wind parks can best be conceptualized as socio-technical system. This new application would therefore expand the current practice of VSD, and may as a consequence also lead to interesting new insights for the VSD community. The paper concludes that such an outcome-oriented approach of wind turbines and park is worth exploring further, as a supplement to rather than a replacement of the process-oriented approach that is promoted by the current literature on community acceptance of wind parks. (shrink)

(for Adam Morton's half) I argue that if we take the values of persons to be ordered in a way that allows incomparability, then the problems Broome raises have easy solutions. In particular we can maintain that creating people is morally neutral while killing them has a negative value.

Interactions in service ecosystems, as opposed to the service dyad, have recently gained much attention from research. However, it is still unclear how they influence a customer’s experiential value and trigger desired prosocial behavior. The purpose of this study is to identify which elements of the multi-actor service ecosystem contribute to a customer’s experiential value and to investigate its relation to a customer’s interaction attitude and inter-customer helping behavior. The authors adopted a scale development procedure from the existing (...) literature. Service, brand, retail and tourism management research as well as expert feedback is used to generate a pool of 33 items. Exploratory and confirmatory factor analysis were conducted. The scale was validated based on more than 468 responses to a CASI at one of the world’s largest trade shows. Scale-development procedure was followed by structural equation modeling. CFA supports that experiential value in multi-actor ecosystems comprises five dimensions. The functional value of personnel, the perception of other customers’ appearance, the perception of other customers’ behavior, multisensory stimuli, and a customer’s enjoyment. Experiential value positively and directly relates to a customer’s interaction attitude and inter-customer helping behavior. Furthermore, the effect of experiential value on inter-customer helping behavior is partially mediated by interaction attitude. Managers interested in getting more out of interactions with customers will develop an understanding for the interplay between the physical environment and individuals within a multi-actor ecosystem. Social scientists and managers can use the scale to assess experiential value, encourage a customer’s interaction attitude and utilize the customers’ influence on their peers. This paper synthesizes insights from existing research on experiential value, from various fields, in one scale. This holistic approach is the first to simultaneously account for a customer’s interactions with the multisensory physical environment, personal interactions with employees and interactions between customers in a multi-actor service ecosystem. (shrink)

The present crisis of truth, the "post-truth" crisis, puts the philosophy of truth in a new light. It calls for a reexamination of the tasks of the philosophy of truth and sets a new adequacy condition on this philosophy. One of the central roles of the philosophy of truth is to explain the importance of truth for human life and civilization. Among other things, it has to explain what is, or will be, lost in a post-truth era. Clearly, the deflationist (...) answer that the role of truth is to serve as a tool of generalization and oblique endorsement will not do. My account of truth in this paper addresses this task. Truth, I argue, is first and foremost a human value. Its importance to our life/civilization lies, not exclusively, but principally, in the centrality of this value to our humanity. I investigate the ramifications of this answer to the issues discussed in the contemporary philosophy of truth, and I end with a comparison of the substantivist and deflationist approaches to truth in light of this new perspective. (shrink)

This essay discusses monism and pluralism about two related evaluative notions: welfare, or what makes people better off, and value simpliciter, or what makes the world better. These are stipulatively referred to as 'axiological value'. Axiological value property monists hold that one of these notions is reducible to the other (or else eliminable), while axiological value property pluralists deny this. Substantive monists about axiological value hold that there is just one basic kind of thing that (...) makes our lives or the world better, while substantive pluralists hold that there is more than one such thing. A more radical kind of pluralism holds that each of the plurality of good things is good in its own way, thus raising questions concerning value comparability and compensability. The essay elucidates these theories and discusses important arguments for and against them. (shrink)

Why think that conscious experience of reality is any more epistemically valuable than testimony about it? I argue that conscious experience of reality is epistemically valuable because it provides cognitive contact with reality. Cognitive contact with reality is a goal of experiential inquiry which does not reduce to the goal of getting true beliefs or propositional knowledge. Such inquiry has awareness of the truth-makers of one’s true beliefs as its proper goal. As such, one reason why conscious experience of reality (...) is more epistemically valuable than testimony about reality is that it gives us more epistemic goods than only true belief or propositional knowledge. I defend this view from two rival accounts. First, that while conscious experience of reality has greater value than testimony, its value is only eudaimonic. Second, that while it has greater epistemic value than testimony, this value is not distinctive: for it only promotes truth better than testimony. (shrink)