Nick Zangwill

I discuss the social dimension of musical experience. I focus on the question of whether there is joint musical listening. One reason for this focus is that Adorno and those in his tradition give us little in the way of an understanding of what the social dimension of musical experience might be. We need a proper clear conception of the issue, which the issue of joint experience yields. I defend a radically individualistic view, while conceding that such a view, inspired by Hanslick, may have political ramifications. I have two arguments. The first is a principled argument against joint musical listening from the impossibility of perceiving the aesthetic properties of music. I connect this with the privacy of our grounds for aesthetic judgements about music. The second argument accepts that joint listening could in principle span different sense modalities, but draws attention to the fact that the experiences on which aesthetic judgements are based cannot be willed in a way they would have to be if there was joint listening. Lastly, I consider two phenomena, of making music together and dancing together, which seem to involve joint listening, but in fact do not. I end by drawing an individualist conclusion about the nature of musical experience

Most of the debate for and against aesthetic formalism in the twentieth century has been little more than a sequence of assertions, on both sides. But there is one discussion that stands out for its argumentative subtlety and depth, and that is Kendall Walton’s paper ‘Categories of Art’.1 In what follows I shall defend a certain version of formalism against the antiformalist arguments which Walton deploys. I want to show that while Walton’s arguments do indeed create insurmountable difficulties for an extreme version of formalism, he has not shown that a moderate version is problematic or inadequate. (I have no space to address anti-formalist arguments other than Walton’s.2) I shall defend moderate formalism rather than put forward positive considerations in its favour, although some of its attractions will become apparent as a side-effect. I pursue the positive case for moderate formalism elsewhere.3 I. FORMAL PROPERTIES AND FORMALISMS I.1. Walton begins his paper by raising an issue about whether those who make aesthetic judgements should only be concerned with what can be directly perceived in works of art. The issue of formalism has often been described in these terms. But Walton rightly distances himself from setting up a debate in that way. He moves on to take as his target the view that ‘Circumstances connected with a work’s origin ... have no essential bearing on an assessment of its aesthetic nature’ (p. 334).

I. Projcctivism, Subjcctivism, and Error (i) According to Simon Blackburn, somconc who wants t0 avoid a ‘rcalistic’ account of our motal thought faces a choice} Thc choicc is bctwccn his non-rcductionist ‘projcctivism’ and rcductionist ‘subjcctivism’. Thc foymcr is thc vicw that moral judgments cxprcss attitudcs (approval, disapproval, liking or disliking, for example), which wc ‘projcct’ or ‘sprcad’ onto thc world, while thc latter is thc vicw that moral judgments arc bclicfs about attitudes. Blackburn bcratcs philosophers for not sccing thc diffcrcncc, or for not sccing that thc projcctivist option is 0pcn at all. Surcly hc has a point hcrc. The prcjudicc of assuming that philosophy is always conccmcd to proffcr analyses of meaning has meant that thc projcctivist option tcndcd to bc overlooked.; Projcctivism is an cxplanation of what wc arc doing when wc moralizc. It docs not pursue a meaning rcduction; it allows that moral terms havc a distinctive meaning. Blackburn also makes an analogous point in various other areas bcsidcs moral philosophy, such as thc philosophy of causality, probability, and conditionals.

I describe and defend the view in a philosophy of mind that I call 'Normative Essentialism', according to which propositional attitudes have normative essences. Those normative essences are 'horizontal' rational requirements, by which I mean the requirement to have certain propositional attitudes given other propositional attitudes. Different propositional attitudes impose different horizontal rational requirements. I distinguish a stronger and a weaker version of this doctrine and argue for the weaker version. I explore the consequences for knowledge of mind, and I then consider objections to the view from mental causation, from empirical psychology, and from animals and small children.

I defend traditional aesthetics against sociological criticism. I argue that “historicist” approaches are not supported by arguments and are intrinsically implausible. Hence the traditional ahistorical philosophical approach to the judgment of taste is justified. Many Marxist, feminist and postmodernist writers either eliminate aesthetic value or reduce it to their favourite political value. Others say that they merely want to give a historical explanation of the culturally local phenomenon of thinking in terms of the aesthetic. As a preliminary, I point out that the conception of the aesthetic these theorists operate with is a straw man. In particular, Kant would have rejected it. I then point out that the empirical evidence does not support their historicist views. Most sociological theorists adduce no evidence, thinking their view obviously correct. Where evidence is adduced, the evidence has little connection with their general historicist conclusions. Lastly, I put pressure on the historicist view, first by appealing to the enormity of the error attributed to ordinary people, and second by appealing to the inevitability of pragmatic inconsistency by those who assert the view. I conclude that traditional philosophical aesthetics was right to be ahistorical.

Philosophers have often wanted to state a principled way of demarcating empirical from non-empirical thought. This was a major concern of the Vienna Circle. In my view, this is an important intellectual project. Although it is not so common now to address the issue directly, it hovers in the background of many discussions. Non-empirical thought comes in different kinds. Perhaps some is a priori. Common candidates are mathematical, logical, modal and moral thought. Some non-empirical thought might be non-cognitive. Common candidates are moral, aesthetic and religious thought. Or some non-empirical thought might be pseudo-empirical. Common candidates are astrological, theistic, Marxist or psychoanalytic thought; such thought masquerades as empirical, but in fact is not. These are all ways that thought can fail to be empirical. Here I shall focus for the most part on the case of morality, where there has been a lively debate about the empirical status of moral thought. I shall probe the prospects for a demarcation principle that can be used to decide whether or not moral thought is empirical. Some philosophers have recently presented what seems like a compelling case for thinking that moral thought is empirical, and so engaging with their arguments will raise the issue of what the empirical/nonempirical distinction amounts to, and also the issue of how to tell which forms of thought are empirical and which are not

Beauty is an important part of our lives. Ugliness too. It is no surprise then that philosophers since antiquity have been interested in our experiences of and judgments about beauty and ugliness. They have tried to understand the nature of these experiences and judgments, and they have also wanted to know whether these experiences and judgments were legitimate. Both these projects took a sharpened form in the twentieth century, when this part of our lives came under a sustained attack in both European and American intellectual circles. Much of the discourse about beauty since the Eighteenth century had deployed a notion of the ‘aesthetic’, and so that notion in particular came in for criticism. This disdain for the aesthetic may have roots in a broader cultural Puritanism, which fears the connection between the aesthetic and pleasure. Even to suggest, in the recent climate, that an artwork might be good because it is pleasurable, as opposed to cognitively, morally or politically beneficial, is to court derision. The twentieth century has not been kind to the notions of beauty or the aesthetic. Nevertheless, some thinkers — philosophers, as well as others in the study of particular arts — have persisted in thinking about beauty and the aesthetic in a traditional way. In the first part of this essay, I look at the particular rich account of judgments of beauty given to us by Immanuel Kant. The notion of a ‘judgment of taste’ is central to Kant's account and also to virtually everyone working in traditional aesthetics; so I begin by examining Kant's characterisation of the judgment of taste. In the second part, I look at the issues that twentieth century thinkers have raised. I end by drawing on Kant's accout of the judgement of taste to consider whether the notion of the aesthetic is viable.

§1. How much do we have to know about what we evaluate? Many aestheticians say that all or most aesthetic evaluations of artworks and natural things require that we know not just about its immediately perceivable aspects but also about its history or deeper nature or wider role. I agree that quite a lot of aesthetic evaluation is like this. But I also think that much is not. Much of our aesthetic life is a matter of a relatively uninformed aesthetic appreciation of what is immediately given in our perceptual experience of a thing, where that appreciation and experience is not informed by knowledge of its history or deeper nature or wider role. Much appreciation is relatively innocent. I disagree with those who deny the actuality or validity of this kind of appreciation.

In metaphor we appropriate the literal meanings of words, and use them in ways that do not correspond to their functions. I develop this way of understanding metaphor and situate it within a general functional account of literal word meaning. I show how metaphor can be understood within this framework. I address disagreement with metaphors and the role of logically embedded metaphors, and I show how an appropriation understanding of metaphor yields an explanation of these phenomena.Many artifacts have functions that derive in part from the intentions that result in their creation. For example, a coffeemaker has the function of making coffee, which it has partly because someone intended it to make coffee, and this ..