A Linguistic Specification of Aesthetic Judgments

This paper aims to delineate the class of aesthetic judgments linguistically. The main idea is that aesthetic judgments can be specified by a certain set of assertibility conditions, i.e., by norms that govern appropriate speech-acts. This idea is spelled out in detail and defended against various objections. The suggestion leads to an interesting account of aesthetic judgments that is theoretically fruitful: It provides the basis for a non-circular and satisfying characterization of the whole domain of aesthetic research and it marks an important linguistic difference between aesthetic judgments and judgments of personal taste

Skepticism, Externalism, and Inference to the Best Explanation

This paper focuses on a combination of the antiskeptical strategies offered by semantic externalism and the inference to the best explanation. I argue that the most difficult problems of the two strategies can be solved, if the strategies are combined: The strategy offered by semantic externalism is successful against standard skeptical brain-in-a-vat arguments. But the strategy is ineffective, if the skeptical argument is referring to the recent-envatment scenario. However, by focusing on the scenario of recent envatment the most difficult problems of the antiskeptical strategy posed by the inference to the best explanation can be solved. The most difficult problems with this strategy are: Why is an explanation of our experience offered by the skeptical hypothesis more complex than our standard explanation? Why is the more complex explanation less likely to be true? By focussing on the recent envatment hypothesis both questions can be answered satisfactorily. Therefore, the combination of semantic externalism and the inference to the best explanation yields a powerful antiskeptical argument

Evidentielle Einzigkeit in klassischer und formaler Erkenntnistheorie

Die These der evidentiellen Einzigkeit besagt, dass es im Lichte von Gesamt-Evidenz E genau eine doxastische Einstellung – Für-Wahr-Halten, Für-Falsch-Halten, Enthaltung – gibt, die von Subjekten in Bezug auf eine beliebige Proposition rationalerweise eingenommen werden kann. Auf den ersten Blick ist diese These sehr plausibel. Der vorliegende Aufsatz diskutiert zunächst die Relevanz des Prin- zips sowohl in klassischen (nicht-formalen) sowie in formalen erkenntnistheoretischen Forschungstraditionen. Anschließend wird untersucht, wie plausibel das Prinzip bei genauerer Betrachtung tatsächlich ist und auf welchen Überlegungen dessen anfängliche Attraktivität eigentlich beruht. Es wird nachgewiesen, dass alle in der Literatur vorgebrachten Argumente für die These nicht überzeugend sind. Allerdings wird eine bisher übersehene Überlegung präsentiert, welche die These zumindest zu einem gewissen Grad motivieren kann

"I like how it looks but it is not beautiful" -- Sensory appeal beyond beauty

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty

Elgin on Science, Art and Understanding

Is art epistemically valuable? Catherine Z. Elgin answers this question in the affirmative. She argues for the epistemic value of art on the basis of her innovative epistemological theory, in which the focus is shifted from knowledge and truth to a non-factive account of understanding. After an exposition and critique of her view, as she develops it in her most recent book “True Enough” (MIT-Press, 2017), I will build on some of her ideas in order to strengthen her account

Epistemic Consequentialism: Its Relation to Ethical Consequentialism and the Truth-Indication Principle

Consequentialist positions in philosophy spell out normative notions by recourse to final aims. Hedonistic versions of ETHICAL consequentialism spell out what is MORALLY right/justified via recourse to the aim of increasing pleasure and decreasing pain. Veritistic versions of EPISTEMIC consequentialism spell out what is EPISTEMICALLY right/justified via recourse to the aim of increasing the number of true beliefs and decreasing the number of false ones. Even though these theories are in many respects structurally analogous, there are also interesting disanalogies. For example, popular versions of epistemic consequentialism implicitly endorse the truth-indication principle (which claims that a belief is epistemically justified only if there are factors indicating that the belief itself is true), whereas popular versions of ethical consequentialism do not subscribe to an analogous pleasure-indicating principle (which claims that an act is morally justified only if there are factors indicating that performing the act itself is pleasurable). In a first step I will argue that this difference rests on the fact that plausible versions of epistemic consequentialism have to meet certain constraints, which versions of ethical consequentialism do not have to satisfy. As these constraints can be easily met by incorporating the truth-indication principle, epistemic consequentialists tend to subscribe to it. In a second step I will investigate whether the identified constraints can also be met independent from the truth-indication principle. Are there plausible versions of veritistic epistemic consequentialism that reject the principle, thereby allowing that some beliefs can be epistemically justified even though no factors speak in favor of their truth? Building on ideas put forward by Ludwig Wittgenstein, Crispin Wright, and others, I will answer this question affirmatively

From Corporations to Companies: The Development of Capitalism in Maritime Cargo Handling in the Port of Barcelona (c.1760-1873)

[eng] For centuries, the maritime cargo passing through the port of Barcelona was handled by the men of a half-dozen guilds. Collectively, these ancient corporations enjoyed monopolistic privileges over the various types of cargo and areas of operation - in the shallow harbor, to and from the Customs House, and throughout the city and beyond. At the end of the eighteenth century, the advances of economic and political liberalism began to question, challenge, and eventually dismantle the guild structure: this came to fruition in the early nineteenth century with the abolition of most guilds throughout Spain. However, some of the cargo-handling guilds had been defended by the Navy against abolition until the second half of the nineteenth century, when their orderly world collapsed into competitive companies able to hire men of their choosing (former guildsmen or otherwise). In this article, we look at the harbor-based guilds and the process by which guildsmen became the unorganized workers and capitalistic directors of the new dockworker companies. We offer a vision of the transformation of the guild system into a private system for organizing the labor of maritime-cargo handling. In this account, we examine technological changes in the means of production, changes in the organization of labor, the appearance of a new capitalist class in the sub-sector, and the rise of a capitalist mode of production based on the proletarianization of cargo handling

Why do we need a theory of art?

This paper argues that within the class of aesthetic judgments, interesting variations occur depending on whether the judgment refers to an artwork or not. Additionally, it is suggested that in order to understand and satisfactorily explain these variations, one needs a convincing specification of the notion of “art”. Thus, the main thesis of this paper is that a general theory of aesthetic judgments needs to be supplemented by a convincing and theoretically fruitful theory of art