Kenneth Walden

Can human agency produce things that are genuinely creative and original? Some philosophers are skeptical. Here I argue that the case of creative activity should lead us to reexamine and ultimately expand our conception of agency. When we do this, we see that rather than being incompatible with agency, creativity offers an especially robust form of agency: a form in which agents are responsible not just for token events but for the general patterns that characterize those events as forms of human activity.

There is a tragedy at the heart of human relationships. Each of us merits a demanding form of appreciation, but this appreciation is, both individually and in aggregate, impossible to pay. The existence of this tragedy is, in a certain sense, obvious, but there is a powerful temptation to avoid any recognition of it. What we need is not so much an argument for the existence of the tragedy but something that might help us acknowledge it. Virginia Woolf's novel Mrs. Dalloway offers us exactly this. Through the novel, we come to experience the tragedy of appreciation as an inescapable practical conflict.

This article proposes a role for aesthetic judgment in our practical thought. The role is related to those moments when practical reason seems to give out, when it fails to yield a judgment about what to do in the face of a choice we cannot avoid. I argue that these impasses require agents to create, but that not any creativity will do. For we cannot regard a response to one of these problems as arbitrary or capricious if we want to act on it. We must instead regard that response as justified by the problem itself. I suggest that this combination of creativity and normativity is characteristic of aesthetic judgment and this makes it a promising candidate for making these very difficult choices.

Schiller says that “it is only through beauty that man makes his way to freedom.” Here I attempt to defend a claim in the same spirit as Schiller’s but by different means. My thesis is that a person’s autonomous agency depends on their adopting an aesthetic identity. To act, we need to don contingent features of agency, things that structure our practical thought and explain what we do in very general terms but are neither universal nor necessary features of agency as such. Without these things, the question of what to do for any individual would be underdetermined. The problem is that adopting such a contingent form of agency amounts to a restriction on what we can do, and so it is a prima facie threat to our autonomy. I will argue that one way, and indeed the only way, of meeting this challenge lies in aesthetic experience. Granting our capacity for aesthetic pleasure the authority to determine the particularities of our agency is compatible with autonomy because doing so means identifying with one’s capacity for pleasure in free and creative activity. Doing this allows us to be both particular sorts of agents and creatures regulated by the universalizing demands of reason.

My aesthetic judgements seem to make claims on you. While some popular accounts of aesthetic normativity say that the force of these claims is third-personal, I argue that it is actually second-personal. This point may sound like a bland technicality, but it points to a novel idea about what aesthetic judgements ultimately are and what they do. It suggests, in particular, that aesthetic judgements are motions in the collective legislation of the nature of aesthetic activity. This conception is recommended by its ability to explain some important but otherwise recondite features of aesthetic practice and, more importantly, by allowing us to ground the normativity of aesthetic judgement in the familiar normativity of practice. It also offers a more systematic way of understanding the rivalry between the ideals of aesthetic universality and diversity.