Yili Zhou

Justin D’Arms and Daniel Jacobson have argued that to evaluate the funniness of a joke based on the consideration of whether it is morally appropriate to feel amused commits the “moralistic fallacy.” We offer a new and empirically informed reply. We argue that there is a way to take morality into consideration without committing this fallacy, that is, it is legitimate to say that for some people, witty but immoral jokes can fail to be funny because they are immoral. In our account, one has an intramural moral reason not to feel amused if one focuses on the moral feature itself of a joke rather than the moral consequence implied in one’s reaction to the joke. When one judges a joke as not funny because of the intramural moral reason, one is in a negative emotional state with high arousal, for example, moral disgust or anger. This state is psychologically incompatible with amusement. That one has an intramural reason not to feel amused thus implies that one does not have a reason to feel amused. Moral consideration thus plays an indirect and appropriate role in the evaluation of the funniness of a joke.

The aim of this article is to argue that what is distinctive about aesthetic experiences has to do with what we do -- not with our perception or evaluation, but with our action and, more precisely, with our interaction with whatever we are aesthetically engaging with. This view goes against the mainstream inasmuch as aesthetic engagement is widely held to be special precisely because it is detached from the sphere of the practical. I argue that taking the interactive nature of aesthetic experiences seriously can help us to understand some of the most important features of aesthetic experiences and the role they play in our life: their normativity, their crucial role in the ways in which the aesthetic domain looms large in our self-image and in the social dimension of aesthetic engagement.

Mencius 孟子 is famous for arguing that human nature is good. In this article, I offer a reading of Mencius’ argument which can be evaluated in terms of empirical psychology. In this reading, Mencius’ argument begins with three claims: humans naturally have prosocial inclinations, prosocial inclinations can be cultivated into mature forms of virtue, and the growth of prosocial inclinations is more natural than the growth of their alternatives. I also argue that each of these claims is well supported by empirical psychology. The relevant studies demonstrate, for example, that humans’ prosocial inclinations are not merely products of social conditioning or egoistic concerns; that prosocial inclinations can be cultivated by environmental factors and personal effort; that humans—even preverbal infants—have a natural inclination to prefer prosociality over its alternatives; and that growth in prosociality is positively associated with human health. Finally, I suggest we interpret Mencius’ expression “human nature is good” as a rhetorical tool to capture the totality of such empirically minded claims.

Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the sounds produced by either musicians a on stage, a stereo, or a portable device. This approach is illustrated in recent work by Nick Zangwill. Drawing on essentialist assumptions, Zangwill concludes that properly musical experience is effectively disembodied and radically private. While this seems plausible when we consider the essentialists’ paradigm case, Zangwill’s conclusion seems odd once we consider the wide variety of ways that people experience music. One’s body and social situation seem ineluctably enmeshed within the experience of, e.g., hot jazz played in a nightclub, where listeners bob their heads and dance to the music, cheer on the musicians, and socialize with their fellow concertgoers. The question this paper aims to answer is: should we consider this and similar experiences of music properly “musical”? I maintain that we should. Far from the world of pure music that Zangwill and others relegate properly musical experience, I conclude that our musical experiences are fully enmeshed within the somatic, affective, and interpersonal dimensions of human life.

In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of our socially situated experiences of music. Second, when listening with others our experience of the music and our sense of community with our fellow listeners often reciprocally enhance one another. Third, how deeply and intimately we share a musical experience with others depends upon such factors as our respective backgrounds, interests, and levels of expertise.

To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest an Aesthetic Self Effect supporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences. Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity. Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect. Exploring the breadth of this effect we also found an Anaesthetic Self Effect. That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games. Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes.

This project aims to examine whether music has an emotional nature. I use the ancient Chinese text Music Has No Grief or Joy to construct three arguments for the illusion view, according to which music has no emotional nature and the emotional appearances of music are illusory. These arguments highlight representational inconstancy, expressive incapability, and evocative underdetermination as three ways to problematize the idea that music has an emotional nature. I draw on the Confucian tradition to formulate three responses to the illusion view from representational reliability, expressive sincerity, and evocative appropriateness. These responses are shown to be inadequate. To examine the illusion view in detail, I adopt a comparative approach to structure a dialogue between ancient Eastern philosophy and contemporary Western philosophy. Nine arguments are constructed from three prominent approaches in contemporary Western musical aesthetics on the evocation, expression, and representation of emotion. I argue that each of these arguments reads emotion into music. Nevertheless, three insights emerge from the comparative discussion. The autonomy of emotional enjoyment, the possibility of emotional communication, and the function of emotional language in musical experiences call for explanations. I argue that the illusion view are amenable to these insights. The illusion view allows us to claim full ownership of emotional responses, have emotional communication by recognizing intended emotional meanings in music, and appreciate the practical value of emotional language in music industry and education. I formulate a possible objection on the basis of Charles Swann’s musical experience in Marcel Proust’s novel, according to which music has emotional agency in the formation of an emotion. This objection can be met and Swann’s musical experience can be integrated into the illusion view. The illusion view turns out to be experientially richer than it might appear at first. This project liberates musical listening and philosophical thinking from beliefs entrenched in the emotional illusion of music.

This paper argues that if motivation by rightness de re is praiseworthy, then so is motivation by rightness de dicto. I argue that these two types of moral motivation have been unfairly compared, in light of a widespread failure to appreciate the structural similarities between them. These structural similarities become clear when we think more carefully about the nature of motivation and about moral metaphysics. I then argue that the two types of moral motivation are on a par by discussing a series of minimal pairs. I argue that in good cases, in which the agent succeeds in doing what she is motivated to do, both motivations seem praiseworthy, and that bad cases, in which the agent fails, arise for motivation by rightness de re in precisely the same way as they do for motivation by rightness de dicto. I then offer a way to evaluate the unsuccessful agents, according to which someone's motivations can still be praiseworthy even if her actions and moral beliefs are both blameworthy, and someone can have certain praiseworthy motivations while lacking others. On my view, most of us are deeply flawed agents who nonetheless have some redeeming features—including our moral motivations.