It is frequently claimed that we can learn very little, if anything, about the aesthetic character
of an artwork (or other object of aesthetic appraisal) on the basis of testimony. Such …

Though much of what we learn about the world comes from trusting testimony, the status of
aesthetic testimony–testimony about aesthetic value–is equivocal. We do listen to art critics …

Many philosophers believe that there exist distinctive obstacles to relying on moral
testimony. In this paper, I criticize previous attempts to identify these obstacles and offer a …

So much of what we know about the world, eg, history, science, politics, one another, etc.,
comes from the testimony of others. But while testimony is clearly an indispensable source of …

The acquaintance debate in aesthetics has been traditionally divided between pessimists,
who argue that testimony does not provide others with aesthetic knowledge of artworks, and …

This paper is about the similarity between the appreciation of a piece of art, such as a
cherished music album, and the loving appreciation of a person whom one knows well. In …

How do we form aesthetic judgements? And how should we do so? According to a very
prominent tradition in aesthetics it would be wrong to form our aesthetic judgements about a …

The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in
the history of aesthetics. Our interest in this article is in a particular way in which gustatory …

We tend to applaud those who think for themselves: the ever-curious student, for example, or
the grownup who does their own research. Even as we're applauding, however, we …

An ongoing debate concerns whether agents can come to know that a particular piece of art
is beautiful on the basis of someone's say-so. This debate concerns the epistemology of …