Cain Todd

Does this Bonnes-Mares really have notes of chocolate, truffle, violets, and merde de cheval? Can wines really be feminine, profound, pretentious, or cheeky? Can they express emotion or terroir? Do the judgements of 'experts' have any objective validity? Is a great wine a work of art? Questions like these will have been entertained by anyone who has ever puzzled over the tasting notes of a wine writer, or been baffled by the response of a sommelier to an innocent question. Only recently, however, have they received the serious philosophical attention they deserve. Touching on issues in metaphysics, epistemology, the philosophy of mind, and aesthetics, this book provides a clear and engaging discussion of the philosophical significance of wine that will be accessible to all wine lovers, specialists and non-specialists alike. The author offers throughout a sustained defence of the objectivity of wine judgements, a demystification of the nature of expertise, and a theory of the aesthetic value of wine and its appreciation.

This paper explores some connections between flavour perception, emotion, and temporal experience. Focussing on the question, If you like that taste of X and I do not, are we tasting the same thing X?, I will approach it by looking at some differences between how experts and nonexperts ‘taste’. I will eventually answer that if by ‘the same thing’ we mean the overall flavour profile of a complex sensory object, then the answer must be negative. I will argue that there is indeed a relatively trivial sense in which one tastes the same thing, but that this is not an experience of flavour. In the process I will reject the view that there are real emergent flavour properties.

ABSTRACT This paper explores the role of aesthetic judgements in mathematics by focussing on the relationship between the epistemic and aesthetic criteria employed in such judgements, and on the nature of the psychological experiences underpinning them. I claim that aesthetic judgements in mathematics are plausibly understood as expressions of what I will call ‘aesthetic-epistemic feelings’ that serve a genuine cognitive and epistemic function. I will then propose a naturalistic account of these feelings in terms of sub-personal processes of representing and assessing the relation between cognitive processes and certain properties of the stimuli at which they are directed.

The nature of the general connection between emotion and value, and of the various connections between specific emotions and values, lies at the heart of philosophical discussion of the emotions. It is also central to some accounts of the nature of value itself, of value in general but also of the specific values studied within particular philosophical domains. These issues all form the subject matter of this article, and they in turn are all connected by two main questions: (i) How do emotions disclose or create values? (ii) What are the epistemic credentials of emotion in justifying evaluative thought and discourse? This second question obviously presupposes some answer to the first question concerning the way in which emotions reveal, constitute, or create value.

This paper addresses the so-called paradox of fiction, the problem of explaining how we can have emotional responses towards fiction. I claim that no account has yet provided an adequate explanation of how we can respond with genuine emotions when we know that the objects of our responses are fictional. I argue that we should understand the role played by the imagination in our engagement with fiction as functionally equivalent to that which it plays under the guise of acceptance in practical reasoning, suggesting that the same underlying cognitive-affective mechanisms are involved in both activities. As such, our imaginative engagement with fiction un-problematically arouses emotions, but only to the extent that we are not occurrently attending to our epistemic relation to the fiction i.e. fully attending to the fact that the object of our response is merely fictional. In order to illuminate this idea I examine a recent proposal that the phenomenology of attention is partially non-attributive, and I argue that emotional phenomenology too shares this characteristic

In this article I examine the status of putative aesthetic judgements in science and mathematics. I argue that if the judgements at issue are taken to be genuinely aesthetic they can be divided into two types, positing either a disjunction or connection between aesthetic and epistemic criteria in theory/proof assessment. I show that both types of claim face serious difficulties in explaining the purported role of aesthetic judgements in these areas. I claim that the best current explanation of this role, McAllister's 'aesthetic induction' model, fails to demonstrate that the judgements at issue are genuinely aesthetic. I argue that, in light of these considerations, there are strong reasons for suspecting that many, and perhaps all, of the supposedly aesthetic claims are not genuinely aesthetic but are in fact 'masked' epistemic assessments.

My primary aim in this paper is to outline a quasi-realist theory of aesthetic judgement. Robert Hopkins has recently argued against the plausibility of this project because he claims that quasi-realism cannot explain a central component of any expressivist understanding of aesthetic judgements, namely their supposed ‘autonomy’. I argue against Hopkins’s claims by contending that Roger Scruton’s aesthetic attitude theory, centred on his account of the imagination, provides us with the means to develop a plausible quasi-realist account of aesthetic judgement. Finally, I respond to two recent attempts to discredit the validity of the notion of aesthetic autonomy. I claim that both fail adequately to address the underlying non-realist motivations and justifications for maintaining the principle.

This paper argues that there is no genuine puzzle of ‘imaginative resistance’. In part 1 of the paper I argue that the imaginability of fictional propositions is relative to a range of different factors including the ‘thickness’ of certain concepts, and certain pre-theoretical and theoretical commitments. I suggest that those holding realist moral commitments may be more susceptible to resistance and inability than those holding non-realist commitments, and that it is such realist commitments that ultimately motivate the problem. However, I argue that the relativity of imaginability is not a particularly puzzling feature of imagination. In part 2, I claim that it is the so-called ‘alethic’ puzzle, concerning fictional truth, which generates a real puzzle about imaginative resistance. However, I argue that the alethic puzzle itself depends on certain realist assumptions about the nature of fictional truth which are implausible and should be rejected in favour of an interpretive view of fictional truth. Once this is done, I contend, it becomes evident that the supposed problem of imaginative resistance as it has hitherto been discussed in the literature is not puzzling at all.