The authority of pleasure

The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non‐contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes their aesthetic evaluation and appreciation. This is why and how art is non‐contingently related to pleasure. Call this, the Affective View. While I don't advance conclusive arguments for the affective view in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors’ power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the affective view is worth serious reconsideration.     

On Liking Aesthetic Value

According to tradition, aesthetic value is non-contingently connected to a certain feeling of liking or pleasure. Is that true? Two answers are on offer in the field of aesthetics today: 1. The Hedonist answers: Yes, aesthetic value is non-contingently connected to pleasure insofar as this value is constituted and explained by the power of its possessors to please (under standard conditions). 2. The Non-Affectivist answers: No. At best, pleasure is contingently related to aesthetic value. The aim of this paper is to point to a blind spot in the dialectic between these two standard positions by defending a third neglected answer to the question above, the answer of the Value-Meriting-Pleasure [VMP] advocate. According to this answer, a certain kind of (cognitive and responsive) pleasure is connected to aesthetic value non-contingently, but also non-hedonically. VMP is the view that objects of aesthetic value are non-contingently related to pleasure insofar as they merit a certain kind of pleasure. But, pace the hedonist, those objects are valuable (those that are to be engaged with etc.) neither on account of their capacity to give pleasure nor on account of the hedonic value of the attitude they merit.     

Patterns of Tao (Dao): The Birth of Chinese Writing and Aesthetics

In the Chinese tradition, the relationship between art and philosophy is conceptually explored in terms of the relationship between dao (Tao) and wen, which may respectively be viewed as representing philosophy and art. Over history, discourses on dao 道 and wen 文 are central to studies of Chinese literature, art, culture, and civilization. But just as dao holds a range of ideas in Chinese philosophy, wen is also one of the most complex terms in Chinese tradition, whose denotations and connotations are multifaceted and open to interpretations. This article argues that the elusive nature of wen can be understood adequately from the perspective of language philosophy and aesthetics via its relationship to the metaphysical principle of the Dao. By examining the discourses on wen and dao, this article advances a thesis with three interrelated ideas: (1) wen (writing) as manifestations of the Tao is an instance of “humanized nature”; (2) the birth of wen marked the beginning of reflections on literature and art, hence inaugurating aesthetics in the Chinese tradition; and (3) the early discourses on wen have determined the distinctiveness of Chinese aesthetic consciousness.     

Ethics and Fictive Imagining

Sometimes it is wrong to imagine or take pleasure in imagining certain things, and likewise it is sometimes wrong to prompt these things. Some argue that certain fictive imaginings—imaginings of fictional states of affairs—are intrinsically wrong or that taking pleasure in certain fictive imaginings is wrong and so prompting either would also be wrong. These claims sometimes also serve as premises in arguments linking the ethical properties of a fiction to its artistic value. However, even if we grant that it might sometimes be wrong to imagine x or to take pleasure in imagining x, nothing follows about the ethical status of fictively imagining x, with or without pleasure. Prompting some fictive imagining is intrinsically wrong only when the fiction is a means to encourage for export from the fiction to the actual world some belief or attitude that it would be blameworthy to hold. The failure of arguments for the wrongness of certain fictive imaginings and their prompting lies in part in a failure to recognize that imagining x and fictively imagining x are distinct mental acts. This distinction blocks many arguments attempting to forge a link between a work's ethical properties and its artistic properties.     

Mark Sacks Lecture 2013: Spinoza on Goodness and Beauty and the Prophet and the Artist

Some critics have claimed that Spinoza's philosophy has nothing to offer aesthetics. I argue that within his conception of an ars vivendi one can discern a nascent theory of art (ars). I bring the figure of the prophet in relation to that of the artist and, alongside a consideration of Spinoza's views on goodness and beauty, show that the special talent of the artist should be understood in terms of the entirely natural expression of the conatus.     

What Mary Didn't Read: On Literary Narratives and Knowledge

In the philosophy of art, one of the most important debates concerns the so‐called ‘cognitive value’ of literature. The main question is phrased in various ways. Can literary narratives provide knowledge? Can readers learn from works of literature? Most of the discussants agree on an affirmative answer, but it is contested what the relevant notions of truth and knowledge are and whether this knowledge and learning influence aesthetic or literary value. The issue takes on a wider, not only philosophical, importance as it is one of the central tenets of humanistic education that art and literature are valuable not only because the pleasure they afford. This paper offers a new line of argument in departing from propositional truth, arguing that literary narratives provide aesthetically significant knowledge, however, this knowledge cannot be captured in propositional form. My position depends crucially on Frank Jackson's influential knowledge argument. The paper describes a modified ‘What Mary Didn't Read’ case. In doing so, it is argued that the knowledge literary works provide should be understood as a type of experiential knowing of ‘what it is like’ analogous to what Mary acquires in the original case of seeing a new colour for the first time. 1 1 I would like to thank first and foremost David Weberman for his comments on the draft of this paper. Also, I am grateful to colleagues at the 7th In‐house Philosophy Graduate Conference of Central European University for a productive discussion. Thirdly, I am indebted to Howard Robinson and Philip Goff for illuminating debates about Jackson's thought experiment.
     

J. S. Mill’s hedonism: activism,experientialism and eudaimonism

Many contemporary scholars defend the position that J. S. Mill was a ‘eudaimonist’, in a sense implying that he was not an ‘experiential’ hedonist. One ‘activist’ argument for this interpretation rests on the claim that Mill’s core axiological uses of ‘pleasure’ in Utilitarianism should be understood to refer to worthy or pleasurable activities rather than mental states. This paper offers a three-stage rebuttal of the activist interpretation. Firstly, in the Analysis, the Examination and the Logic, Mill explicitly identifies pleasures and pains as mental states. Secondly, if we read Mill’s core axiological uses of ‘pleasure’ in Utilitarianism along activist lines, the text’s overall coherence and intelligibility becomes even more questionable than on the traditional experientialist reading. Finally, in his discussions of Plato, Mill seems to distance himself from the axiological view that non-hedonic features of mind or character have intrinsic value in their own right. In consequence, in the small number of cases in Utilitarianism in which Mill clearly speaks of ‘pleasures’ as activities, this is best construed as a derivative usage.     

Application of the Serious Leisure Perspective to Intrinsically Motivated Serial Homicide

ABSTRACT

This article briefly introduces the multidisciplinary field of leisure sciences before exploring how leisure theory, particularly the Serious Leisure Perspective, can provide important insights into better understanding some forms of serial homicide. It is well known that many serial homicide offenders kill for the pleasure and enjoyment that such behavior provides them. Such expressive cases can be understood as deviant casual, serious, or project-based leisure experience, which helps account for how particular offenders plan, structure, and experience their crimes. Examples of specific serial homicide cases that appear to function primarily as casual, serious, or project-based leisure are presented and discussed.     

Beyond Pregenital Determination of Femininity and Masculinity (Discussion)1

Abstract

The authors investigate the relationship between the concept of functional pleasure as defined by Fenichel and a number of other psychoanalytic concepts. Considered in the light of this concept, the pleasure–unpleasure principle as defined by Freud is to be distinguished in terms of a pleasure principle and a principle of avoiding unpleasure. These are then reunified in the sense of an unpleasure–functional pleasure principle, to which the substitutive formations of the repressed are subjected. It is argued that, in the realization of substitutive formations of repressed genital–sexual instinctual wishes, the intentional erogenous pleasure changes into a functional pleasure, in which a successful defence finds its experiential expression.     

On A Semantic Interpretation Of Kant's Concept Of Number

What is central to the progression of a sequence is the idea of succession, which is fundamentally a temporal notion. In Kant's ontology numbers are not objects but rules (schemata) for representing the magnitude of a quantum. The magnitude of a discrete quantum 11...11 is determined by a counting procedure, an operation which can be understood as a mapping from the ordinals to the cardinals. All empirical models for numbers isomorphic to 11...11 must conform to the transcendental determination of time-order. Kant's transcendental model for number entails a procedural semantics in which the semantic value of the number-concept is defined in terms of temporal procedures. A number is constructible if and only if it can be schematized in a procedural form. This representability condition explains how an arbitrarily large number is representable and why Kant thinks that arithmetical statements are synthetic and not analytic.     

The Good Life: A Defense of Attitudinal Hedonism

What makes a life go well for the one who lives it? Hedonists hold that pleasure enhances the value of a life; pain diminishes it. Hedonism has been subjected to a number of objections. Some are (a) based on the claim that hedonism is a form of “mental statism”. Others are (b) based on the claim that some pleasures are base or degrading. Yet others are (c) based on the claim that when a bad person enjoys a pleasure, his receipt of that pleasure seem not to make the world better. It is important to keep in mind that hedonism is a theory about the value of a person's life for the person who lives it, and not for the world or for others. It is also important to distinguish between sensory hedonism and attitudinal hedonism. “Desert Adjusted Intrinsic Attitudinal Hedonism” appears to be immune to objections (a) and (b). A variant appears to be immune to all of them. Perhaps it is the answer to the question about the value of a life.     

Dual Character Art Concepts

Our goal in this paper is to articulate a novel account of the ordinary concept art . At the core of our account is the idea that a puzzle surrounding our thought and talk about art is best understood as just one instance of a far broader phenomenon. In particular, we claim that one can make progress on this puzzle by drawing on research from cognitive science on dual character concepts. Thus, we suggest that the very same sort of phenomenon that is associated with art can also be found in a broad class of other dual character concepts, including scientist , Christian , and many others. Instead of focusing narrowly on the case of art , we try to offer a more general account of these concepts and the puzzles to which they give rise. Then, drawing on the general theory, we introduce a series of hypotheses about art concepts and put those hypotheses to the test in three experimental studies.     

Individual differences in the relationship between pleasure and arousal

The two fundamental dimensions assumed to underlie emotional experience—pleasure and arousal—are considered to be independent across individuals. We present evidence from an experience sampling study demonstrating that this independence does not necessarily hold when considering the affective experiences of a single individual. Participants (N = 80) reported how they were feeling in terms of pleasure and arousal nine times a day for seven days. The data showed that, although on average pleasure and arousal were independent, within-person pleasure–arousal associations substantially varied and ranged from strongly positive to strongly negative. This finding demonstrates that pleasant/unpleasant feelings usually co-occur with high arousal for some (reflecting joy/stress), but with low arousal for others (reflecting relaxation/sadness) and that persons differ in whether arousal is usually pleasant or unpleasant. These differences were found to be related to dispositional reward responsiveness, with high reward responsive individuals being characterized by a positive relation between pleasure and arousal and vice versa.     

Paradoxes of happiness

To get happiness forget about it; then, with any luck, happiness will come as a by-product in pursuing meaningful activities and relationships. This adage is known as the paradox of happiness, but actually it contains a number of different paradoxes concerning aims, success, freedom, and attitudes. These paradoxes enhance our understanding of the complexity of happiness and its interaction with other values in good lives, that is, lives which are happy as well as morally decent, meaningful, and fulfilling. Yet, each paradox conveys a one-sided truth that needs to be balanced with others. Happiness, understood as subjective well-being, involves positively evaluating our lives and living with a sense of well-being. As such, it should not be confused with either pleasure or normative conceptions of “true” happiness.     

INTRINSIC AESTHETIC VALUE REVISTED

Abstract: Every sentient organism needs constantly to re‐assess its environment in order to adjust to any changes in it and to ascertain which aspects are, or become, salient for its current purposes. Such adaptation is of basic evolutionary importance, but for human beings it can be difficult to achieve in the face of radical novelty or when different frames of reference are in conflict. Art by virtue of its integrated structure presents examples of how a partial unification of experience may be envisaged. Art thus helps to meet our constant need for orientation and re‐orientation, though its operation in this respect is invariably outside consciousness. So art can be said to have intrinsic value only within a strictly subjective, phenomenological perspective; more broadly considered from a third‐person viewpoint, the value of art is instrumental. Questions then arise concerning our motivation for seeking or producing art, about the relation of art to other cultural activities, and about the role of pleasure in connection with aesthetic experience; these are briefly discussed.     

Analytic practice: Convergences and divergences1

The author discusses current convergences and divergences concerning analytic practice. After presenting a clinical vignette that can be understood differently according to different theoretical approaches, he discusses Wallerstein’s proposal of a common ground in psychoanalysis and suggests that the present state of the art indicates that psychoanalysis is a pluralistic discipline, with different ways of training and practising it, and that the main challenge is to improve our ability to listen to and to learn from different approaches.     

<Emphasis Type="Italic">Ziran</Emphasis> and <Emphasis Type="Italic">Wuwei</Emphasis> in the <Emphasis Type="Italic">Daodejing</Emphasis>: An Ethical Assessment

In Daoist philosophy, the self is understood as an individual interdependent with others, and situated within a broader environment. Within this framework, the concept ziran is frequently understood in terms of naturalness or nature while wuwei is explained in terms of non-oppressive government. In many existing accounts, little is done to connect these two key Daoist concepts. Here, I suggest that wuwei and ziran are correlated, ethical, concepts. Together, they provide a unifying ethical framework for understanding the philosophy of the Daodejing. I explore the meaning of ziran as self-so-ness or, in human terms, as pertaining to an individual’s spontaneity. The appropriate response to the spontaneity of individuals is to avoid, insofar as possible, imposing or using restrictive norms and methods, that is, wuwei. According to this view, ziran and wuwei offer an account of ethics that attends to core notions of interdependent selfhood, including mutuality, relationality, interdependence, symbiosis, and responsiveness.     

PLEASURE AS SELF‐DISCOVERY

This paper uses readings of two classic autobiographies, Edmund Gosse's Father & Son and John Stuart Mill's Autobiography, to develop a distinctive answer to an old and central question in value theory: What role is played by pleasure in the most successful human life? A first section defends my method. The main body of the paper then defines and rejects voluntarist, stoic, and developmental hedonist lessons to be taken from central crises in my two subjects' autobiographies, and argues for a fourth, diagnostic lesson: Gosse and Mill perceive their individual good through the medium of pleasure. Finally, I offer some speculative moral psychology of human development, as involving the waking, perception, management, and flowering of generic and individual capacities, which I suggest underlies Gosse and Mill's experiences. The acceptance of one's own unchosen nature, discovered by self‐perceptive pleasure in the operation of one's nascent capacities, is the beginning of a flourishing adulthood in which that nature is fully developed and expressed.