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How do we arrive at aesthetic knowledge? This might seem an odd question for philosophers to ask. Some will take its answer to be obvious: we learn about the aesthetic qualities of paintings by looking at them, of musical works by listening to them, and so on. Others will take the question to be misguided, how can there be aesthetic knowledge when aesthetics is merely 'a matter of taste'? Finally, aesthetic knowledge itself might seem singularly unimportant. We don't engage with beautiful artworks to learn that they're beautiful but, rather, to appreciate that beauty. This Element argues that each of these objections is misplaced. Aesthetic knowledge is both valuable and attainable, but canonical philosophical (and folk) views of how we attain it are mistaken. The Element surveys some recent arguments against the reliability of aesthetic perception and in favour of other, more social, sources of aesthetic knowledge.
How do we arrive at aesthetic knowledge? This might seem an odd question for philosophers to ask. Some will take its answer to be obvious: we learn about the aesthetic qualities of paintings by looking at them, of musical works by listening to them, and so on. Others will take the question to be misguided, how can there be aesthetic knowledge when aesthetics is merely 'a matter of taste'? Finally, aesthetic knowledge itself might seem singularly unimportant. We don't engage with beautiful artworks to learn that they're beautiful but, rather, to appreciate that beauty. This Element argues that each of these objections is misplaced. Aesthetic knowledge is both valuable and attainable, but canonical philosophical (and folk) views of how we attain it are mistaken. The Element surveys some recent arguments against the reliability of aesthetic perception and in favour of other, more social, sources of aesthetic knowledge.
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