The heterogeneity problem, which stems from the alleged difficulty of finding out what all pleasant experiences have in common, is largely considered as a substantial issue in the philosophy of pleasure, one that is usually taken as the starting point for theorizing about the essence of pleasure. The goal of this paper is to move the focus away from the heterogeneity problem and toward an alternative approach to pleasure. To do this, I first show that, although the (...) approach stemming from the heterogeneity problem has led to an interesting discussion about the essence of pleasure, it has usually endorsed an introspectionist methodology and other problematic assumptions that have led to doubtful results. I thus propose a natural-kind approach to pleasure, which seeks to determine what, if any, the natural kind of pleasure would consist in. This approach broadens the investigation of pleasure by enabling the use of a larger range of methodological tools, thus opening new promising directions for research. (shrink)

Some experiences—like the experience of eating cheesecake—are good experiences to have. But when we try to explain why they are good, we encounter a clash of intuitions. First, we have an objectivist intuition: plausibly, the experiences are good because they feel the way that they do. Second, we have a subjectivist intuition: if a person were indifferent to that kind of experience, then it might fail to be good for that person. Third, we have a possibility intuition: for any kind (...) of experience, possibly there is a subject who is indifferent to that kind of experience. The pleasure problem is the problem we face in reconciling these three claims. I explain the problem and argue for a solution. I argue that we ought to reject the most common solutions: rejecting the objectivist or subjectivist intuitions. Instead, we ought to follow Timothy Sprigge in rejecting the possibility claim. We should embrace the view that experiences bear necessary connections to our attitudes. (shrink)

In this essay, I’ll argue, first, that an art object's aesthetic value (or merit) depends not just on its intrinsic properties, but on the response it evokes from a consumer who shares the producer's cultural background. My question is: what is the role of culture in relation to this response? I offer a new account of aesthetic pleasure that answers this question. On this account, aesthetic pleasure is not just a “feeling” or “sensation” that results from engaging with (...) a work of art. It is rather a mental state that facilitates engagement with an artwork, and (in the long run) enables a consumer to learn how to maximize this kind of pleasure. This is where culture comes in. If you belong to a culture, you know how to engage pleasurably with an artwork that is produced so you can engage with it in just this way. The aesthetic value of an artwork is that it plays into such a culture-pleasure nexus. -/- . (shrink)

This thesis introduces and defends the Axiological Theory of Pleasure (ATP), according to which all pleasures are mental episodes which exemplify an hedonic value. According to the version of the ATP defended, hedonic goodness is not a primitive kind of value, but amounts to the final and personal value of mental episodes. Beside, it is argued that all mental episodes –and then all pleasures– are intentional. The definition of pleasures I arrived at is the following : -/- x is (...) a pleasure of a person P =df x is an intentional episode of P which is finally good for P. (shrink)

In this paper, I argue that Phenomenalists about pleasure can concede a key claim, Heterogeneity, commonly used to object to their theory. They also can then vindicate the aspirations of J. S. Mill’s doctrine of higher pleasures, while grounding their value claims in a naturalistic metaethics. But once Phenomenalists concede Heterogeneity they can no longer consistently endorse Hedonism as the correct theory of wellbeing, since they implicitly commit to recognizing distinct kinds of pleasure that are independently good-making. (...) I also explore further issues that arise for a Pluralist theory of pleasure: How could there be distinct kinds of pleasure? How can pleasures be measured? Is it possible for some pleasures to be superior in kind to others? What unifies the category of pleasant experiences? Is the value of pleasant experiences natural or non-natural? (shrink)

I distinguish two kinds of pleasures – value–based pleasures, which can be explained in terms of the values of those who experience them, and brute pleasures, which cannot be so explained. I apply this distinction to three related projects. First, I critically examine a recent discussion of moral character by Colin McGinn, arguing that McGinn offers a distorted view of good character. Second, I try to elucidate certain remarks Aristotle makes about the relationships between pleasure and courage and (...) pleasure and temperance. Third, I appeal to the distinction to elucidate the topic of moral improvement. (shrink)

I argue that Aristotle took pleasure to be a certain aspect of perfect activities of awareness, namely, their very perfection. I also argue that this reading facilitates an attractive interpretation of his view that pleasures differ in kind along with the activities they arise in connection with.

In this paper, I discuss two of Aristotle’s major requirements for the virtuous person. First, the virtuous person takes pleasure in virtuous activity. Second, the virtuous person experiences the appropriate affective states in the appropriate situations. However, in some situations, the appropriate affective state is sorrow. In such situations, it appears that the virtuous person is expected to experience two conflicting emotions, namely, moral pleasure and moral sorrow. This conflict raises the deeper concern that the virtuous person has (...) conflicting values and leads critics to reject Aristotle’s requirement of moral pleasure. I argue that critics need not take such measures because the conflict in the virtuous person’s values is merely apparent. I do this by first considering potential solutions, including an appeal to a _de dicto_ interpretation of moral pleasure, and discussing how they prove unsatisfactory. Then, I recommend a desire-based understanding of moral pleasure and analyse the values underlying it. Through this analysis, I reveal that the virtuous person’s moral pleasure and moral sorrow indicate the same kind of value to the same objects of concern. And, because the virtuous person’s moral sorrow indicates the same value for virtuous activity, I conclude that it is necessary for a person to be able to experience moral pleasure and to be considered a virtuous person in the first place. (shrink)

Aristotle's Rhetoric defines fear as a kind of pain or disturbance and pity as a kind of pain . In his Poetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ . The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in connection with catharsis. Catharsis, however, raises more problems than it solves. Aristotle says (...) nothing at all about the tragic catharsis in the Poetics except to state that tragedy accomplishes it. Though he gives a more complete account of catharsis in the Politics, the context of this passage is so different from that of the Poetics that its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of the Poetics according to which a tragedy is pleasurable in one respect and painful in another, and pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of the oikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view of catharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)

For many of the ancient Greek philosophers, the ethical life was understood to be closely tied up with important notions like rational integrity, self-control, self-sufficiency, and so on. Because of this, feeling or passion (pathos), and in particular, pleasure, was viewed with suspicion. There was a general insistence on drawing up a sharp contrast between a life of virtue on the one hand and one of pleasure on the other. While virtue was regarded as rational and as integral (...) to advancing one’s well-being or happiness and safeguarding one’s autonomy, pleasure was viewed as largely irrational and as something that usually undermines a life of reason, self-control and self-sufficiency. I want to try to show that the hedonist Aristippus of Cyrene, a student and contemporary of Socrates, was unique in not drawing up such a sharp contrast. Aristippus, I argue, might be seen to be challenging the conception of passion and pleasure connected to loss of self-control and hubristic behavior. Not only do I try to show that pleasure according to Aristippus is much more comprehensive or inclusive than it is usually taken to be, but that a certain kind of control and self-possession actually play an important part in his conception of pleasure and in his hedonism as a whole. (shrink)

Shelly Kagan and Leonard Katz have offered versions of hedonism that aspire to occupy a middle position between the view that pleasure is a unitary sensation and the view that pleasure is, as Sidgwick put it, desirable consciousness. Thus they hope to offer a hedonistic account of well-being that does not mistakenly suppose that pleasure is a special kind of tingle, yet to offer a sharp alternative to desire-based accounts. I argue that they have not identified a (...) coherent middle position. (shrink)

: Although Kant holds that the universal communicability of aesthetic judgments logically follows from the disinterested character of the pleasure upon which they are based, Kant’s emphasis on the a priori validity of judgments of beauty can be viewed as a rebuttal of the kind of empiricist arguments that Burke offers to justify the social nature of the experience of beauty. I argue that the requirement of universal communicability is not a mere addition to the requirement of universal validity (...) and is far more relevant to an adequate characterisation of the beautiful than has customarily been assumed. I further argue that the ‘exemplary necessity’ of pure judgments of taste, if understood correctly, reveals beauty’s primordial social significance, enabling us to become alive to a profound universal solidarity among aesthetic subjects. (shrink)

Many people are uncomfortable with the idea that pleasure from certain sources is genuinely beneficial. These sources can be sorted into two classes: ones that involve others’ pain; and ones that involve what seems to be damage rather than benefit to the person involved. Here’s an example of the latter: a woman who claims that she enjoys her work performing in hard-core pornographic films. Some find it hard to take such a claim at face value – they instinctively assume (...) that the woman is insincere or self-deceived.1 The reason seems a strongly paternalistic one: because the activity is assumed to be bad, it’s thought that only someone who was in some way damaged could genuinely like it. A statement from Brian Hill, the director of a documentary about such women, illustrates this: ‘I felt certain that she couldn’t enjoy what she does, that there must be some reason why she’s undergoing this kind of experience. But there was nothing: no messed-up childhood, no sense of pain or humiliation.’ Forced to conclude that the woman in question really does enjoy her work, Hill changes his view to imply that the pleasure gained cannot be truly beneficial: ‘When I hear a young woman talking about doing videos of fisting and asphyxiation, I have to wonder what it’s doing to her – even if she says that she’s having fun.’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pleasure and Pain in LiteratureOliver ConollyWhy do we enjoy the depiction, in imaginative literature, of situations that typically arouse negative emotions such as pity, sadness, and horror? One view, which aims to dissolve rather than solve the problem, is that we do not enjoy them at all. According to this theory—the pure pain theory—the problem does not arise in the first place. But the theory must explain why (...) we chose to undergo such painful experiences. Are we simply aesthetic masochists? The pure pleasure theory, by contrast, denies that there are any painful aspects to our experience of such literature. This theory must explain how we can take pure delight in the literary depiction of suffering. Are we simply aesthetic sadists? Lying between both extremes is the hybrid theory, which asserts that there are both painful and pleasant aspects of such experiences. The hybrid theory must specify which aspects of the experience are painful and which pleasant. In this paper a version of the hybrid theory is advanced and defended.IThe pure pleasure theory denies that we feel painful emotional identification with fictional characters. Why take this view? One reason is that it is a way of resolving the paradox of fiction, as formulated by Colin Radford.1 The paradox asserts that there is an inconsistency between the propositions that: (1) we have emotions for fictional characters, (2) we know that they do not exist, (3) it is irrational to have emotions for non-existent objects. Each proposition seems plausible, yet one must be false. Whilst most of the participants in the debate have attacked the notion that feelings for fictions are irrational, some have [End Page 305] denied that we have such feelings in the first place. One intuition guiding this denial is that the depiction of a fictional horrible event is likely to be less painful than the depiction of an identical but real event. In other words, the mere fictionality of an event is liable, by itself, to diminish the pain we are liable to feel at its depiction in comparison with a real event: I label this the fictionality gap. If the fictionality gap exists, it applies across the board, to the sufferings of Pip in Great Expectations as well as those of King Lear. The characters in those works are fictional, and so the lessening of the pain we feel at their fates must, if the fictionality gap holds, hold merely in virtue of the fact that they are fictional.It has often been noted—rather than argued, but this is question of impression rather than logic—that one would feel more affected were the stories real rather than fictional. The kinds of events depicted in King Lear—ugly struggles for power, the manipulation of the naïve, the impotence of the good, inconsolable grief—are not in themselves other-worldly, and can be imagined taking place in reality. However it is much more difficult to imagine King Lear in its full particularity taking place in the real world, given the theatricality of its form and language. In order to imagine King Lear as real, one would have to rob it of Shakespeare's poetry, which is other-worldly in its eloquence. French proponents of the Three Unities thought that theatre should aim at, among other things, verisimilitude, but never overcame the problem that the fact that characters in French theatre speak in rhyming couplets might detract from that verisimilitude, which it clearly does. This worry about the transplantability of King Lear into the real world appears to be less of a problem in relation to realist novels, which, as their appellation suggests, are easier to imagine taking place in the real world. Not only is the language used in realist novels less exalted than that used in tragedies, the situations such novels depict tend to be more likely to occur. Clearly, the realist novel is capable of depicting horrible or unpleasant events. About such novels, say, Madame Bovary, it seems to make sense to ask ourselves how we would feel about them if we read them as true stories.I would like however to question the very intelligibility of the... (shrink)

Donald Davidson famously argues that when a person acts for a reason, we can characterize that person as having some sort of pro-attitude toward actions of a certain kind and believing that their action is of that kind. If acting for a reason must be caused by pro-attitudes, then the right account of pro-attitudes will help us correctly identify cases of action for reason. In this paper, we examine what it takes for a mental state to be a pro-attitude. First, (...) we argue that having any mental state that systematically causes behavior when combined with an appropriately connected belief count as a pro-attitude is overly permissive. We do so by presenting an example of someone whose complex system of nervous tics mimics the causal structure of a pro-attitude, but where the resulting behavior does not count as action. Next, we argue that requiring beliefs about value or treating pro-attitudes as perceptions of value is overly restrictive. Such views fail to account for akrasia or attribute unprecedented functional properties to perceptual states. Finally, we propose an account of pro-attitudes that avoids these pitfalls: In addition to causing behavior, pro-attitudes cause more pleasure when one thinks about attaining their object than when one thinks about failing to attain their objects. (shrink)

This chapter begins with a discussion of the view that Plato defends asceticism in the Phaedo. It argues that this view rests on the mistaken assumption that, for Plato, pleasure is bad in its own right, and not in virtue of one's giving it the wrong place in one's life. It is also argued that in the Phaedo, Plato also rejects the hedonist view that pleasure is the good, since taking pleasure to be the good is incompatible (...) with the sorts of priorities one needs in order to make any kind of good out of pleasure in the first place. The chapter concludes by showing how the notion of a conditional good affords a new and richer understanding of Plato's discussion of pleasure and value in the Phaedo. (shrink)

In the third Critique Kant shifts the focus in his enquiry from the status of factual statements in the Critique of Pure Reason and the grounding of moral imperatives in the Critique of Practical Reason to investigating two methods of considering the world which go beyond the strictly verifiable. This is a move from evaluating the interplay of a ‘determinate’ set of facts and intellectual preconditions to forming what Kant calls ‘reflective’ judgements on these facts. There are two major questions (...) which the Critique of Judgement tackles. On the one hand Kant ambitiously considers how we might properly interpret a set of facts as comprising a larger teleological system and, on the other hand, he is interested in the seemingly quite separate issue of the appreciation of objects as beautiful. It is this latter issue which shall concern us here. Consistent with the reflective stand in the third Critique, Kant argues from the very outset that beauty is not an empirical concept with which we might describe the world. Beauty is not objective in the sense that size, colour or weight might be. Objective properties of this kind belong to the world of scientific understanding. Instead, he holds that judgements of aesthetic merit should be based upon the subjective pleasure we take in experiencing works of art and natural objects. (shrink)

Plato links pleasure with illusion, and this link explains his rejection of the view that all desires are rational desires for the good. The Protagoras and Gorgias show connections between pleasure and illusion; the Republic develops these into a psychological theory. One part of the soul is not only prone to illusions, but also incapable of the kind of reasoning that can dispel them. Pleasure appears good; therefore this part of the soul (the appetitive part) desires pleasures (...) qua good but ignores reasoning about what is really good. Hence the new moral psychology of the Republic: not all desires are rational, and thus virtue depends on bringing one's non-rational desires under the control of reason. (shrink)

In the second chapter of Utilitarianism John Stuart Mill writes: It is quite compatible with the principle of utility to recognise the fact, that some kinds of pleasure are more desirable and more valuable than others. It would be absurd that while, in estimating all other things, quality is considered as well as quantity, the estimation of pleasures should be supposed to depend on quantity alone.

In the Philebus, Socrates argues that some anticipatory pleasures can be false. The main argument at 38b6-41a4 has perplexed readers, however, and scholars have developed several different ways to understand the falsity of false anticipatory pleasures. I argue that the anticipation argument should be read in conjunction with a later distinction in the Philebus between intense pleasures mixed with pain and pure pleasures free from pain. I suggest that anticipatory pleasures taken in intense pleasures are false because they misidentify an (...) intense pleasure as a genuine pleasure when in fact intense pleasures are inferior and non-genuine due to being mixed with pain. I contend that the example of a false anticipatory pleasure supports recognizing this kind of falsity, and that doing so helps to resolve several challenges that face existing interpretations. (shrink)

This chapter contains sections titled: Action ‐ Based Theories of Desire Pleasure ‐ Based Theories of Desire Combined Action ‐ Based and Pleasure ‐ Based Theories Holistic Theories of Desire Natural Kind Theories The Nature of Pleasure References.

Schopenhauer repeatedly claims that all pleasure is negative, and this view seems to play key roles throughout his work. Nonetheless, many scholars have argued that Schopenhauer actually acknowledges certain positive pleasures. Two major arguments have been offered for this reading, one focused on the link between Schopenhauer's view of pleasure and Plato's, and one focused on Schopenhauer's distinction between two components of aesthetic pleasure. I argue that neither way of motivating the positive pleasure reading succeeds. Both (...) overlook a key aspect of Schopenhauer's account: namely, his suggestion that there are two distinct kinds of negative pleasure, pleasures of satisfaction and pleasures of distraction. When Schopenhauer claims that all pleasure is negative, he means it. (shrink)

Kant calls judgements of adherent beauty impure aesthetic judgements because they presuppose the empirical concept of the object and are thus not determined exclusively by a feeling of pleasure. Glossed over in Kant’s account is what kind of universality these judgements have. This article argues that the subjective universality of pure aesthetic judgements and the objective universality of cognitive judgements do not merge in impure aesthetic judgements and that the tension between them reaches also into Kant’s pure aesthetic judgements (...) with their unstable relations between the pleasure of the a priori harmony of the faculties and the empirical object named beautiful. Pleasure, which for Kant is communicable while nonetheless not being discursive, is always to some extent lost for words. (shrink)

At least since Burnyeat’s “Aristotle on Learning to Be Good,” one of the most popular ways of explaining moral development in Aristotle is by appealing to mechanisms of pleasure and pain. Aristotle himself suggests this kind of explanation when he says that “in educating the young we steer them by the rudders of pleasure and pain” (Nicomachean Ethics X.1, 1172a21). However, I argue that, contrary to the dominant view, Aristotle’s view on moral development in the Nicomachean Ethics is (...) not mainly about learning to feel pleasures and pains in relation to the right kinds of objects and activities. I show that given Aristotle’s account of the relationships between pleasure and virtuous actions, on the one hand, and between pleasure and virtuous dispositions, on the other, pleasure can only have a supporting role in our learning to be good, and not a guiding one. (shrink)

In Book 9 of Plato's Republic we find three proofs for the claim that the just person is happier than the unjust person. Curiously, Socrates does not seem to consider these arguments to be coequal when he announces the third and final proof as ‘the greatest and most decisive of the overthrows’. This remark raises a couple of related questions for the interpreter. Whatever precise sense we give to μέγιστον and κυριώτατον in this passage, Socrates is clearly appealing to an (...) argumentative standard of some kind, and claiming that his final argument alone meets this standard. But what precise standard is Socrates invoking here? And given that the first two arguments of Book 9 fall short of this standard, why does he not simply leap directly to the third, most decisive proof? (shrink)

Further, we come here to what for the purpose of our present argument is the most important consideration of all, viz. that if we could show that there were two kinds of neural or physiological processess, occurring respectively on all occasions of pleasure and pain, the fact would be valueless for proving that life must be predominantly pleasant. It is perhaps intelligible that to succeed or fail in purposive activity should bring respectively contentment and discontent rather than vice-versa; (...) but that of two kinds of neural or physiological process, one should be accompanied by pleasure and the other by pain, is no more intelligible than if the connection were reversed. If the behaviour of any creature is affected by desires and aversions, by judgments, by feelings: if its desires and aversions or its judgments are connected with or affected by its pleasures and pains, then indeed the question with what bodily conditions its pleasures and pains are connected is part of the problem that interests the biologist—viz. what the conditions are under which the species can continue. But in that case the biologist must not claim that all the conditons of life and reproduction can be found in what happens in the body. Pleasures and pains, desires and aversions, purposes are not events that happen in the body. If they are the mere “apparence or sense” of what happens there, and alone determines survival or extinction, then what happens there to determine survival might, for all we can see, equally appear as pain or pleasure. (shrink)

(DRAFT: I'll update when the book is published.) This started as a book about desire. I was hoping to complement what I had said about belief in my (2022). To believe something, I argued, is to be positioned to do, think and feel things in light of a possibility whose obtaining would make one right. I argued that believing is not representational, that belief states are not causes or causal powers, and that the objects of belief are ways the world (...) might be and not representations of things. Believing is not so much a response to the world as a way of being positioned in it, a way of having an environment, as Frege put it. (Frege 1956, 306) I was trying to put the believer as a rational agent positioned in a world at the heart of my account. I hoped an account of desire could round out this picture of a rational agent’s psychology. But as I thought about desire, I came to see that two ideas about the nature of goodness, one negative and one positive, were really at the heart of my thinking. The negative idea is that there is no such thing as what philosophers have variously called intrinsic goodness or simple goodness or absolute value. I guess I am a nihilist about that. The positive idea is that our world is rich in what I will call sortal quality, what others have called goodness-of-a-kind or attributive goodness. I came to think that sortal quality is at the heart not just of desire but also of pleasure and moral worth. A picture of moral psychology had come into view. And so I re-organised the book. I still say a lot about the nature of desire, or ‘wanting’ as I prefer to call it, and I think my view does complement my externalist view of belief. Wanting, I will argue, is a matter of falling short relative to a standard one falls under, failing to be as good as one could be. If believing is about having an environment to respond to, then desire is about fitting into it well. And so my book offers a comprehensive picture of a moral agent in a world where nothing is simply or absolutely good but where many kinds of things, including people, can be very good and even splendid. (shrink)

Further, we come here to what for the purpose of our present argument is the most important consideration of all, viz. that if we could show that there were two kinds of neural or physiological processess, occurring respectively on all occasions of pleasure and pain, the fact would be valueless for proving that life must be predominantly pleasant. It is perhaps intelligible that to succeed or fail in purposive activity should bring respectively contentment and discontent rather than vice-versa; (...) but that of two kinds of neural or physiological process, one should be accompanied by pleasure and the other by pain, is no more intelligible than if the connection were reversed. If the behaviour of any creature is affected by desires and aversions, by judgments, by feelings: if its desires and aversions or its judgments are connected with or affected by its pleasures and pains, then indeed the question with what bodily conditions its pleasures and pains are connected is part of the problem that interests the biologist—viz. what the conditions are under which the species can continue. But in that case the biologist must not claim that all the conditons of life and reproduction can be found in what happens in the body. Pleasures and pains, desires and aversions, purposes are not events that happen in the body. If they are the mere “apparence or sense” of what happens there, and alone determines survival or extinction, then what happens there to determine survival might, for all we can see, equally appear as pain or pleasure. (shrink)

This article focuses on the structures of humor and joke telling that require particular kinds of attentiveness and particular relationships between speaker and audience, or more specifically, between classmates. First, I will analyze the pedagogical and relational preconditions that are necessary for humor to work. If humor is to work well, the person engaging in humor needs to gauge their interlocutors carefully. I discuss, too, the kinds of listening necessary for listening for the joke, including attentiveness to complex (...) possibilities for meaning. This attentiveness to complexity is linked to curiosity and a willingness to be startled, two qualities that are central to the risk and pleasure of learning discussed by Socrates and Maria Lugones. Examining the place of risk in Socrates’ teaching and the place of serious play in Maria Lugones’ discussion of difference, I suggest that humor can help to illuminate complicities and invite more robust interactions with difference, creating pleasurable encounters to work through difficult social divisions. (shrink)

There is considerable appeal to the Aristotelian idea that taking pleasure in an activity is sometimes simply a matter of attending to it in such a way as to render it wholehearted. However, the proponents of this idea have not made adequately clear what kind of attention it is that can perform the surprising feat of transforming otherwise indifferent activities into pleasurable ones. I build upon Gilbert Ryle's suggestion that taking pleasure in an activity is tantamount to engaging (...) in the activity while fervently desiring to do it and it alone. More specifically, I draw upon insights into the sort of evaluative attention involved in having a desire to generate corollary insights into the sort of attention that makes activity pleasurable. My aim is to offer a compelling account of a certain class of pleasures, and to shed light on their relation to reasons. I argue that prospective pleasures in this class are not always reasons for action, and that even when they are reasons they have this status only derivatively, as vivid apprehensions of an independent realm of values. This does not mean that such pleasures are never good. They are good provided that they track real values, for then they constitute a proper savoring of one's activities and/or circumstances, and provide a valuable respite from the distractions and unwarranted doubts that so often leave us at odds with ourselves and alienated from our own doings. (shrink)

Two seemingly contradictory aspects have marked art’s appreciation – and aesthetic appreciation in general. While an experience of pleasure seems to ground judgments of aesthetic value, some artworks seem to gain our praise by the very negative – unpleasant – experience they provoke. Known as the paradox of negative emotions, aestheticians have, at least since Aristotle, tried to deal with these cases and offer different explanations of the phenomenon. In this article, María José Alcaraz León does not directly offer (...) an alternative explanation; rather she focuses on the apparent tension between an understanding of aesthetic experience in terms of a certain kind of pleasure and the negative aspect that is necessarily involved in our appreciation of painful art. The purpose of her article is to show that cases of artistic appreciation that involve negative emotions do not need to give up on the idea that aesthetic value is ultimately grounded upon an experience of pleasure. (shrink)

Stephen Davies’ book The Artful Species is a nuanced and learned attempt to show how evolution does, and does not, account for the human capacity to produce and appreciate beautiful things. In this critical note, his approach to aesthetic pleasure is examined. Aesthetic pleasure, it is argued, is a state that encourages us to continue with our perceptual or intellectual engagement with something. Such pleasure displays a different profile from states that urge us to use an object (...) to satisfy a need, and which terminate when that need has been met. Davies subsumes aesthetic pleasure to the latter kind of state. This is a mistake. (shrink)

_ Source: _Volume 47, Issue 3, pp 429 - 448 Taxonomy is our response to the proliferating variety of the natural world on the one hand, and the principle of unrelieved universality on the other. From Aristotle, through Porphyry to Linneaus, Kant and others, thinkers have struggled to develop taxonomies that could order what we know and also what we do not yet know, and this essay is a reflection on the existential desire that propels this effort. Porphyry’s tree of (...) logic is an exhaustive account of the things we can say about the sort of beings we are; Linneaus’s system of nature reaches completion in the classification of humans; Kant discovers a way to have natural and logical forms coincide in the thought of natural purpose and purposiveness. The stakes are high. When we order the world, we order ourselves: when we enter the taxonomy, it enters us and confronts us with our judgments of kind, race and kin. (shrink)

Time and philosophical fashion have not been kind to hedonism. After flourishing for three centuries or so in its native empiricist habitat, it has latterly all but disappeared from the scene. Does it now merit even passing attention, for other than nostalgic purposes? Like endangered species, discredited ideas do sometimes manage to make a comeback. Is hedonism due for a revival of this sort? Perhaps it is overly optimistic to think that it could ever flourish again in its original form; (...) the evolutionary changes which have rendered the philosophical environment hostile to the classical specimens of the theory are doubtless irreversible. None the less, it is still possible that certain features of the classical view can, and should, be recuperated—like bits of DNA which could contribute to the emergence of new and more robust species. So let us ask ourselves: what is living and what is dead in traditional hedonism? (shrink)

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate (...) students, and independent scholars. Western literary study flows out of eighteenth-century works by Alexander Pope, Daniel Defoe, Henry Fielding, Frances Burney, Denis Diderot, Johann Gottfried Herder, Johann Wolfgang von Goethe, and others. Experience the birth of the modern novel, or compare the development of language using dictionaries and grammar discourses. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library T126964 Anonymous. By Benjamin Franklin. Only 100 copies printed. London: printed in the year, 1725. 32p.; 8°. (shrink)

This paper investigates Thomas Aquinas’s threefold division of pleasure into delectatio, gaudium, and fruitio, and its taxonomical basis in his threefold division of knowledge into tactility, the cogitative power, and the intellect. -/- Thomas Aquinas distinguishes three ways in which the sensory and intellectual appetites rest in the good. When the will rests in the intellectually apprehended good, this act is called fruitio; when the concupiscible appetite rests in a good apprehended by the internal senses this passion is called (...) gaudium; and when the concupiscible appetite rests in a good apprehended by the external senses this passion is called delectatio. Each of these appetible goods presupposes a different kind of knowledge of a present good, namely, the knowledge of the intellect, internal senses, and external senses, respectively. The difficulty is that it is not entirely perspicuous what the difference is between the goods apprehended by the external senses and those grasped by the internal senses. How does Thomas justify the distinction between delectatio and gaudium? Can he reasonably maintain that there are three sufficiently different kinds of knowledge that specify three different kinds of pleasure? In order to address these questions this study investigates Thomas’s account of the external and internal senses, and in particular the way in which tactility and the cogitative power supply two kinds of knowledge that specify two kinds of pleasure. (shrink)

The beginning of Plato's Philebus contains a puzzling argument: Socrates says that pleasures are different, and that this somehow supports the contention that not all pleasures are good (contrary to what the hedonist interlocutor, Protarchus, maintains). His argument has a bad reputation in the literature, and more to the point it is confusing. This paper sheds light on Socrates' argument by making use of principles from contemporary metaphysics. I argue that Socrates thinks of pleasure as exhibiting the structure that (...) metaphysicians today associate with determinables and determinates. Specifically, he thinks that what makes each pleasure a pleasure is a unique profile, which simultaneously differentiates it from other pleasures. As a result, the kind, 'pleasure', is really a relational principle of coherence between the different kinds of pleasure. I argue that, based on this metaphysical picture, we can see why Socrates thinks that it is possible that some pleasures are bad, contrary to hedonism. Beyond making sense of the dialectic in the Philebus, my paper advances a growing literature on the interesting metaphysical views developed in this section of Plato's dialogue. (shrink)

Imagination is celebrated as our vehicle for escape from the mundane here and now. It transports us to distant lands of magic and make-believe, and provides us with diversions during boring meetings or long bus rides. Yet the focus on imagination as a means of escape from the real world minimizes the fact that imagination seems also to furnish us with knowledge about it. Imagination seems an essential component in our endeavor to learn about the world in which we live--whether (...) we're planning for the future, aiming to understand other people, or figuring out whether two puzzle pieces fit together. But how can the same mental power that allows us to escape the world as it currently is also inform us about the world as it currently is? Ten original essays grapple with this neglected question; in doing so, they present a diverse array of positions ranging from cautious optimism to deep-seated pessimism. Blending perspectives from philosophy of mind, cognitive science, epistemology, aesthetics, and ethics, Knowledge Through Imagination sheds new light on the epistemic role of imagination. (shrink)

David Lewis has argued that “having an experience is the best way or perhaps the only way, of coming to know what that experience is like”; when an experience is of a sufficiently new sort, mere science lessons are not enough. Developing this Lewisian line, L.A. Paul has suggested that some experiences are epistemically transformative. Until an individual has such an experience it remains epistemically inaccessible to her. No amount of stories and theories and testimony from others can teach her (...) what it is like to have it, nor is she able to achieve this knowledge by way of imaginative projection. It’s this last claim that is the focus of this paper. In particular, I explore the case for the claim that some experiences are in principle imaginatively inaccessible to someone who has not undergone the experience itself or one relevantly similar. As I will suggest, this case is not as strong as is often thought. Close attention to the mechanisms of imagination, and in particular, to cases of skilled imaginers, suggests how techniques of imaginative scaffolding can sometimes be used to give us epistemic access to experiences we have not had, even ones that are radically different from any that we have had before. As a result, considerably fewer experiences remain imaginatively out of reach than proponents of transformative experience would have us believe. Experience may well be the best teacher, but this paper aims to show that imagination comes in a close second. (shrink)

According to representationalism, the phenomenal character of a mental state reduces to its intentional content. Although representationalism seems plausible with respect to ordinary perceptual states, it seems considerably less plausible for states like moods. Here the problem for representationalism arises largely because moods seem to lack intentional content altogether. In this paper, I explore several possible options for identifying the intentional content of moods and suggest that none of them is wholly satisfactory. Importantly, however, I go on to argue that (...) the plausibility of representationalism should not be seen to rest on the question of whether moods have intentional content but rather on the question of whether the intentional content of moods, were there any, would be sufficient to determine their phenomenal character. As I argue, even if we concede to the representationalist that moods have intentional content, their phenomenal character outstrips their intentional content; thus, the representationalist reduction cannot succeed. Ultimately, then, I conclude that moods do indeed pose a serious objection to the representationalist theory. (shrink)

Despite their intuitive appeal and a long philosophical history, imagery-based accounts of the imagination have fallen into disfavor in contemporary discussions. The philosophical pressure to reject such accounts seems to derive from two distinct sources. First, the fact that mental images have proved difficult to accommodate within a scientific conception of mind has led to numerous attempts to explain away their existence, and this in turn has led to attempts to explain the phenomenon of imagining without reference to such ontologically (...) dubious entities as mental images. Second, even those philosophers who accept mental images in their ontology have worried about what seem to be fairly obvious examples of imaginings that occur without imagery. In this paper, I aim to relieve both these points of philosophical pressure and, in the process, develop a new imagery-based account of the imagination: the imagery model. (shrink)

How do clinical psychiatrists arrive at their diagnostic conclusions? Little attention has been directed to this question by philosophers of psychiatry. Adrian Kind presents a systematic, in-depth philosophical investigation into this question and argues that psychiatric diagnostic reasoning can be understood as a model-based reasoning procedure analogous to scientific model-based reasoning. To support this, he draws on ideas from the philosophy of science, psychiatry, cognitive science, and artificial intelligence. This study is an invaluable resource for practicing psychiatrists, philosophers interested in (...) psychiatry, and researchers in artificial intelligence or cognitive science interested in medical cognition. (shrink)

In this essay, the focus is not on what imagination is but rather on what it is like. Rather than exploring the various accounts of imagination on offer in the philosophical literature, we will instead be exploring the various accounts of imaginative experience on offer in that literature. In particular, our focus in what follows will be on three different sorts of accounts that have played an especially prominent role in philosophical thinking about these issues: the impoverishment view (often associated (...) with Hume), the will-dependence view (often associated with Wittgenstein), and the nonexistence view (often associated with Sartre). While there are important insights to be drawn from each of these views, each seems to me to be importantly flawed in various ways. As I will suggest, close examination reveals that none of them gives us an adequate account of the character of imaginative experience. Ultimately, in the final section of this paper, I briefly explore what their failure teaches us about the project of giving an account of imaginative experience. (shrink)

How are we to understand the phenomenology of imagining? Attempts to answer this question often invoke descriptors concerning the “vivacity” or “vividness” of our imaginative states. Not only are particular imaginings often phenomenologically compared and contrasted with other imaginings on grounds of how vivid they are, but such imaginings are also often compared and contrasted with perceptions and memories on similar grounds. Yet however natural it may be to use “vividness” and cognate terms in discussions of imagination, it does not (...) take much reflection to see that these terms are ill understood. In this paper, I review both some relevant empirical literature as well as the philosophical literature attempt to get a handle on what it could mean, in an imaginative context, to talk of vividness. As I suggest, this notion ultimately proves to be so problematic as to be philosophically untenable. (shrink)

Underlying much current work in philosophy of imagination is the assumption that imagination is a skill. This assumption seems to entail not only that facility with imagining will vary from one person to another, but also that people can improve their own imaginative capacities and learn to be better imaginers. This paper takes up this issue. After showing why this is properly understood as a philosophical question, I discuss what it means to say that one imagining is better than another (...) and then discuss the kinds of imagination training and techniques that might be employed in an effort to get better at imagining. The discussion of these techniques draws insight from consideration of other skills-based activities, as well as from consideration of the creation of art and our engagement with literature and poetry. Over the course of this discussion, we also gain further insight into the nature of imagination. (shrink)