Experimental philosophy of aesthetics has explored to what extent ordinary people are committed to aesthetic realism. Extant work has focused on attitudes to normativism – a key commitment of realist positions in aesthetics – the claim that aesthetic judgments/statements have correctness conditions, invariant between subjects, such that there is a fact of the matter in cases of aesthetic disagreement. The emerging picture is that ordinary people strongly and almost universally reject normativism and thus there is no strong realist tendency in (...) ordinary people’s thinking about the aesthetic. This has been taken to dissolve the traditional puzzle in aesthetics of how to best account for the fact that (a) aesthetic judgments seem intersubjectively valid, while (b) aesthetic experience seems subjective. This paper presents studies which further enrich our understanding of ordinary thinking about the aesthetic: ordinary thinking about the aesthetic may not be so vehement in its rejection of normativism; and where previous results suggested that, in many cultures, the dominant trend is to reject correctness conditions for aesthetic judgments, the current results suggest participants think aesthetic judgments have correctness conditions (albeit perhaps very finely relativized to specific circumstances of judgment). (shrink)

Response-dependence theories have historically been very popular in aesthetics, and aesthetic response-dependence has motivated response-dependence in ethics. This chapter closely examines the prospects for such theories. It breaks this category down into dispositional and fittingness strands of response-dependence, corresponding to descriptive and normative ideal observer theories. It argues that the latter have advantages over the former but are not themselves without issue. Special attention is paid to the relationship between hedonism and response-dependence. The chapter also introduces two aesthetic properties that (...) lead to wrong kinds of reasons problems for aesthetic response-dependence: insightfulness and the capacity to change one’s perspective. These properties do not have obvious parallels in the ethical domain, and so present an obstacle for response-dependence even in aesthetics. The chapter ends by examining replies on behalf of the response-dependence theorist, ultimately suggesting that a restricted form of response-dependence is the most promising way forward for fans of such theories. (shrink)

Mathematicians often conduct aesthetic judgements to evaluate mathematical objects such as equations or proofs. But is there a consensus about which mathematical objects are beautiful? We used a comparative judgement technique to measure aesthetic intuitions among British mathematicians, Chinese mathematicians, and British mathematics undergraduates, with the aim of assessing whether judgements of mathematical beauty are influenced by cultural differences or levels of expertise. We found aesthetic agreement both within and across these demographic groups. We conclude that judgements of mathematical beauty (...) are not strongly influenced by cultural difference, levels of expertise, and types of mathematical objects. Our findings contrast with recent studies that found mathematicians often disagree with each other about mathematical beauty. (shrink)

This paper develops a form of realism about aesthetics that is stronger than typical versions of aesthetic realism. As I conceive of it, aesthetic realism is the view that there are some response-independent aesthetic facts. This kind of realism is unpopular in aesthetics and is often viewed as a non-starter. Against this pessimism, I argue that the prospects for this realist approach are more favorable than commonly supposed. I offer some reasons to prefer my brand of aesthetic realism to competing (...) realist and anti-realist positions. I also defend this aesthetic realism against what I call the ‘overly objective worry’ and correct misconceptions about what realism’s commitment to response-independence involves. (shrink)

In this paper the potential in film for ethics education is considered, and the theory of educational ethicism is defended. Some key features of ethicism are firstly outlined. Bery’s Gaut’s argument about how artworks may teach ethics in an aesthetically meritorious way is also discussed. Two objections (from Matthew Kieran and Andrea Sauchelli) to Gaut’s position are then considered. It is argued that Gaut’s ethicism is not well placed to overcome these objections. However, I draw upon Paul Hirst to explain (...) why a refined species of ethicism (educational ethicism) can surmount these objections. Educational ethicism holds that artworks with ethical themes be regarded as starting points for conversations about ethics rather than conveyers of definite ethical teachings that only a normatively specified audience can grasp. Three ways that film can possess potential for ethics education are also documented: through the moral growth of the audience, by helping them to deepen understanding of an aspect of ethical experience, and in developing theoretical understanding. (shrink)

Aesthetic non-naturalism is the view that there are objective aesthetic truths that hold in virtue of sui generis facts. This view is seldom explicitly endorsed in philosophical aesthetics. I argue that many aestheticians should treat it as the view to beat, since (a) their commitments favour aesthetic realism, (b) non-naturalistic forms of aesthetic realism are particularly promising and (c) non-naturalists have reasonable answers to four important objections.