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 …

There seems to be a deep tension between two aspects of aesthetic appreciation. On the
one hand, we care about getting things right. Our attempts at aesthetic judgments aim at …

Reflection on talk of reasons for action or belief suggests that reasons serve both normative
and explanatory purposes. We cite reasons both when we answer questions as to why we …

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 …

Evaluative aesthetic discourse communicates that the speaker has had first-hand
experience of what is talked about. If you call a book bewitching, it will be assumed that you …

The current debate over aesthetic testimony typically focuses on cases of doxastic repetition—
where, when an agent, on receiving aesthetic testimony that p, acquires the belief that p …

Our life with art is suffused with trust. We don't just trust one another's aesthetic testimony; we
trust one another's aesthetic actions. Audiences trust artists to have made it worth their while; …

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 …

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 …

Relying on aesthetic testimony seems problematic. For instance, it seems problematic for me
to simply believe or assert that The Velvet Underground's debut album The Velvet …