A critical note on Paul Guyer’s A Philosopher Looks at Architecture (2021). In his book, Paul Guyer proposes that the Vitruvian triad of venustas, utilitas, and firmitas represents central goals and normative values of architecture – ideals that architects should realize and success criteria regarding their realization – that persist through time, place, cultural settings, and other contextual parameters. Indeed, the triad presents sufficiently abstract goals that many disparate views in architectural theory may be subsumed under the triad as distinctive (...) ways of explaining how architecture may be beautiful, functional, or structurally sound. These are significant thematic values by which we experience and judge architecture (as are also useful in gauging other human pursuits), and which architects draw on in their creative acts. There is much to recommend this broad picture of the triad as architectural ideals. That said, I suggest two difficulties for Guyer’s claim as to the centrality of these values, relative to architectural success regardless of Vitruvian goal-satisfaction; and to non-persistence across architectural cultures. (shrink)

In this article, I explore the problems of ficta ‘generation’ and ‘properties’ in light of the philosophies of Alexius Meinong and Roman Ingarden. Comparing Ingarden and the historical Meinong is not a novel idea. By contrast, comparing Ingarden and a phenomenological Meinong has not, to my knowledge, yet been explored. Here, I rely on Alberto Voltolini’s ‘phenomenological conception of außerseiende entities’. I devise Ingarden’s phenomenological ontology to account for the problems of ascription and generation that cripple Meinong’s account. In short, (...) I argue that Ingarden’s account is better suited to accommodate ficta’s generation and properties in a way that does not complicate our approach to fiction. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

According to a number of contemporary theorists, aesthetic reasons can invite or entice us but never compel us. In this paper, I develop a Kantian account of the normative force of aesthetic reasons. While Kant would likely agree that aesthetic reasons do not give rise to obligations, his account nevertheless gives us the resources for explaining how aesthetic reasons can still have more force than merely enticing reasons. This account appeals to the distinct normativity of aesthetic judgments on Kant's theory (...) and the way in which this kind of normativity structures aesthetic exchanges with other judging subjects. I argue that, in addition to the moral reasons we have for appreciating and preserving beauty, Kant’s account can accommodate distinctly aesthetic reasons for doing so that stem from our membership in aesthetic communities. (shrink)