Cain Todd

The starting point for this chapter is the idea that the appreciation of pornographic representations is heterogeneous. In particular, it makes a distinction between two different appreciative attitudes or states: regarding pornography as fiction, and regarding it as non-fiction. The latter, it holds, does not involve the imagination, but involves instead the voyeuristic-like ‘transparency’ that precludes aesthetic interest, and in virtue of doing so, involves real sexual desire. In contrast, the appreciation of pornography as fictional, the chapter argues, essentially involves the imagination and aesthetic attention to and appreciation of the ‘formal features’ of the work. The awareness of fictionality ensures that one's imaginative engagement implies merely imagined ‘desire-like’ states involving some aspects of the self as a character in the fictional world. Significantly, this imaginative engagement is enough to cause certain physiological and emotional sexual responses, but ones that people are sufficiently detached from, allowing them to serve as objects of reflection and permitting meta-responses of approval and disapproval.

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 examines the problem of how we distinguish, phenomenologically, sensory imagination from perception. I suggest that philosophical discussions of this issue have been hampered by a surprising failure to carefully distinguish what is involved in our awareness of being in a state of imagining, from our awareness of the imagistic content. Rectifying this allows us, first, to gain a clearer insight into the problem at issue, and it also allows for a new interpretation of the so-called ‘Perky effect’, whereby subjects supposedly confuse imagining for perceiving. Second, it allows us to give a more nuanced account of reality monitoring and of the metacognitive mechanisms underpinning the phenomenal features we rely upon to distinguish state from content.

This paper examines two phenomena that are usually treated separately but which resemble each other insofar as they both raise questions concerning the difference, if there is one, between so-called ‘real’ and ‘as if’ emotions: affective memory and imagined emotion. The existence of both states has been explicitly denied, and there are very few positive accounts of either. I will argue that there are no good grounds for scepticism about the existence of ‘as if’ emotions, but also that the existing positive accounts of them are all explanatorily inadequate. Comparing the two phenomena directly, I contend, allows us to defend the existence of both by showing how they essentially involve the same ‘affective bodily imagery’. The final part of the paper offers an original, empirically informed account of the nature of this imagery, the role it plays in ‘as if’ emotions, and how it may help illuminate some important connections between memory, imagination, and emotion.

© The Author 2017. Published by Oxford University Press on behalf of The Analysis Trust. All rights reserved. For Permissions, please email: [email protected] largely upon a series of previously published papers, this book tackles a diverse range of topics – including the nature of practical reasons, impartiality, personhood, the phenomenal content of moral experience, and the notions of glory and beauty in ethics – that are unified by an overarching commitment to an anti-systematic approach to normative ethics. The presiding influences here are Bernard Williams and Wittgenstein, and, in certain respects, Kant, and the overall view is a kind of realist virtue ethics. Chappell’s method is frequently broad and illustrative, rather than detailed and argumentative, and rich in theological and literary allusions. The price to be paid for the considerable insight and breadth is a lack of neatness and clarity in some of the discussion, but Chappell’s main...

Philosophers have long been interested in the various similarities and differences between perception and imagination. One of the most interesting purported differences is the relationship that attention bears to each. Colin McGinn (2004), especially, has provided a comprehensive discussion of these relations, pointing out that imagery, unlike perceptual experiences (percepts), essentially requires attention, presents no equivalent of the visual field for attention to explore, lacks saturation, and cannot provide new information about what is imagined. Moreover, McGinn and others have also maintained that images, like percepts, are transparent. In this paper I will examine all of these claims, arguing first that there are few good reasons to accept the differences between imagery and perceptual experiences in respect of the role that attention is supposed to play in each, and secondly, that in any case the transparency claim is in tension with the other claims made about imagery. I conclude that the most salient difference between imagination and perception consists in the non-attributive phenomenology of the former. Finally, I turn briefly to some implications of this characteristic of imagining for the nature of pictorial depiction, arguing against the plausibility of accounts that attempt to explain it by appealing to the imagination.

This paper addresses two recent debates in aesthetics: the ‘moralist debate’, concerning the relationship between the ethical and aesthetic evaluations of artworks, and the ‘cognitivist debate’, concerning the relationship between the cognitive and aesthetic evaluations of artworks. Although the two debates appear to concern quite different issues, I argue that the various positions in each are marked by the same types of confusions and ambiguities. In particular, they demonstrate a persistent and unjustified conflation of aesthetic and artistic value, which in turn is based on a more general failure to explicitly tackle the demarcation of aesthetic value. As such, the claims of each side are rendered ambiguous in respect of the relation that is supposed to hold between all these types of value and artistic value. These issues are discussed in light of a recent argument proposed by Matthew Kieran, to undermine, to some extent, the conceptual distinction between aesthetic, cognitive-ethical, and artistic values in our appraisal of art works. In rejecting his argument, I defend the conceptual distinction and a pluralistic conception of artistic value that allows for cognitive and ethical values to count as artistic, but not aesthetic, values

ABSTRACT: Amongst inanimate objects, it is generally accepted that at least some art forms, such as music and painting, are capable of being genuinely expressive of emotion, even though it is difficult to understand exactly how. In contrast, although expressive properties can be attributed to non-artworks, such as natural objects or wine, it has often been claimed that such objects cannot be genuinely expressive. Focussing on wine, I argue that once we understand properly the nature of expressiveness, if we allow that music can be expressive there is no good reason to withold the ability to be genuinely expressive from wine.

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 issue of Fitting Attitudes inherit the much-discussed ‘wrong kind of reason’ problem (WKR) that afflicts some accounts. The problem remained to attempts to give an account of FA is to specify the right kinds of reasons, to specify the right notion of fittingness. A number of solutions have been proposed to solve WKR. ‘Conceptual thesis’ about attitude formation and the ‘psychological thesis’. The text discusses both of it, raising some questions about them, but also wish to emphasize that the understanding of FA that is supposed to lead to WKR is problematic. An important thing to be brought seems to be that, when applied to essentially contestable concepts, fitting attitude analyses, understood properly (i.e. without unwarranted presuppositions about the very value in dispute) will not result in WKR as conceived in the kinds of examples given earlier. Exploring the issue of Fitting Attitudes and giving to it an alternative account is the main goal of the present paper. Key words: fitting attitudes, contestable, concepts.

The cognitivist/non-cognitivist debate about the nature and value of literary fiction has witnessed a lot of spilled ink amongst philosophers over the past decade. Gibson characterizes this debate as a conflict between two apparently incompatible intuitions: the ‘humanist’ intuition that works of literary fiction have some sort of cognitive value in telling us about the world, and the ‘sceptical’ anti-humanist intuition that such works, and their proper appreciation, are not essentially concerned with the notions of truth and knowledge. The vast majority of recent writers on this issue have defended various versions of cognitivism, but the novelty of Gibson's cognitivist – or as he calls it ‘humanist’ – position consists in attempting to reconcile the two sides of the debate.Gibson thus takes seriously various sceptical arguments, primarily semantic and epistemological, to the effect that works of fiction qua fiction do not or cannot make reference to or represent the ‘real’ world and insofar as they do refer to it, they provide no evidence in themselves for forming justified beliefs about their claims. These arguments, Gibson holds, place a necessary ‘textual constraint’ on any plausible humanism, …

This paper provides an account of the nature of our appreciation of wine, and a defence of the aesthetic value of tastes and smells. Focusing primarily on Roger Scruton’s recent claims, I argue against him that our appreciation of wine meets his own constraints on aesthetic interest and, moreover, that the cultural significance he grants to wine is in large part grounded in its aesthetic value. I show that Scruton’s claims are thus in tension with each other, not because he has misunderstood the nature of aesthetic interest, but because he fails to appreciate the aesthetic capabilities of wine. Appealing to a well-known argument of Kendall Walton’s, I defend the aesthetic interest and value of tastes and smells by demonstrating that our judgements of wine can be correct or incorrect relative to the categories that govern its production and proper appreciation and understanding. I thereby show that tastes and smells can attain aesthetic significance in virtue of the types of objects they constitute. In particular, I hold that this significance, in the case of wine, rests in large part on its ability to be expressive and to embody certain kinds of meaning.