Antonia Peacocke

To inquire into some question Q is to try to answer Q. To understand inquiry, we must understand what constitutes success in this endeavor. What it is to answer Q? The issue has been systematically neglected in philosophical work on inquiry. It raises a real puzzle. A judgment with a content p that actually settles Q doesn't necessarily constitute answering Q. To answer Q, a judgment must have additional significance connecting p with Q. It's not clear what gives a judgment such significance in inquiry. This article introduces this unsolved “problem of answering,” explains its difficulty, and draws a comparison with the problem of inference.

It’s plausible that conception of new ideas for aesthetic works involves intentional action: we ask how and why artists conceive of their works, and we give them great praise for conceiving them. But such creative conception can’t just involve acting on an intention to conceive the new idea in all its particularity, since having that intention in the first place already requires you to have conceived that idea. Then what is the content of a creative intention that can guide the process of creative conception? There are at least two existing models of creative intention: a value realization model endorsed by Nick Zangwill; and an inspiration/selection model set out by Monroe Beardsley, among many others. Each model fails to identify a way for a creator to be properly active in the origination of their own ideas. A better model, the refinement model, can combine the strength of both of these. On this model, a creator intends to do justice to some proto-work—a draft or component of a final idea which sets up a standard to be met in further refinement. The content of the creator’s intention is demonstrative in nature; an artist might have no insight into what she is trying to do except via her grasp on this proto-work. This model is illuminated by application to a real-world example of creative conception by the band Grizzly Bear.

In his fascinating new book Games: Agency as Art, Nguyen endorses an experiential requirement on aesthetic judgment: apt aesthetic judgment requires phenomenal experience. His own aesthetics of agency captures three phenomenally manifest and aesthetically significant harmonies (and corresponding disharmonies). But his view can be significantly extended to capture much more of the rich texture of human agency. In this discussion, I argue that emotions of agency, patterns of attention, and affordances all can be phenomenally experienced as aspects of agency, and that each has genuine aesthetic significance.