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Aesthetic Taste
Edited by Frédéric Lefrançois (Université Des Antilles)
About this topic
| Summary | Aesthetic taste, often regarded as the cornerstone of artistic appreciation and cultural discernment, is a deeply personal yet universally influential aspect of human experience. It encompasses the subjective judgments we make about the beauty, harmony, and emotional resonance of art, design, literature, music, and the world around us. Rooted in our unique perceptions, experiences, and cultural backgrounds, aesthetic taste shapes how we interpret and engage with the myriad forms of creative expression that surround us. At its core, aesthetic taste reflects our innate human desire to seek out and connect with experiences that evoke pleasure, provoke thought, or stir our emotions. It is a multifaceted phenomenon, influenced by a complex interplay of factors including individual preferences, societal norms, historical context, and evolving trends. While some may gravitate towards classical elegance, others may find allure in avant-garde experimentation. Similarly, what one person finds captivating, another may find mundane or even unsettling. Yet, despite its inherently subjective nature, aesthetic taste is not merely arbitrary or capricious. Rather, it often reflects deeper insights into our values, beliefs, and aspirations. Through our aesthetic preferences, we express aspects of our identity, worldview, and cultural heritage. Moreover, aesthetic taste serves as a lens through which we navigate the vast tapestry of human creativity, enriching our lives with moments of inspiration, introspection, and delight. In contemporary society, discussions surrounding aesthetic taste are central to debates about art, design, and cultural production. From the halls of museums to the pages of fashion magazines, individuals and institutions alike grapple with questions of what constitutes beauty, significance, and artistic merit. These dialogues not only shape the trajectory of creative industries but also challenge us to confront our own biases and assumptions, fostering a deeper understanding of the diverse perspectives that shape our shared cultural landscape. In essence, aesthetic taste is a dynamic and evolving phenomenon that transcends boundaries of time, geography, and medium. It invites us to explore the infinite possibilities of human imagination and creativity, forging connections that bridge the gap between the individual and the collective, the past and the present, the familiar and the extraordinary. As we embark on this journey of aesthetic discovery, we are reminded of the profound capacity of art and beauty to illuminate the human experience and inspire us to see the world with new eye |
| Key works | Carroll 2022, Martínez Marín & Schellekens 2022, Wyatt et al 2022, Dinges & Zakkou 2021, Fenner 2020, Spicher 2020, Liao & Meskin 2018, Perullo 2018, Lopes 2017, Shelley 2017, Spicher 2017 |
| Introductions | Liao & Meskin 2018, Perullo 2018, Lopes 2017, Shelley 2017, Spicher 2017 |
Show all references
Related
Siblings
- Aesthetic Cognition, Misc (88)
- Aesthetic Attitudes (60)
- Aesthetic Concepts (113)
- Aesthetics and Emotions (646)
- Aesthetic Experience (983)
- Aesthetic Judgment (854)
- Aesthetic Perception (293)
- The Interpretation of Art (168)
- Aesthetic Imagination (608)
- Aesthetic Pleasure (356)
- Aesthetic Knowledge (158)
- Aesthetic Understanding (182)
- Aesthetics and Cognitive Science (212)
- Aesthetics and Psychoanalysis (19)
Contents
270 found
Order:
| 1 — 50 / 270 |
- A Taste for Habits: On Preference Self-Construction.Emanuele Arielli - 2024 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 17 (1):265-279.This paper explores the tensions and potential contradictions in the “self-construction” of habits and preferences, arguing that preferences and tastes not only arise from habit formation but also contribute to the development of new habits. Changing tastes necessitates self-reflection on our current preferences and habits, which then become subjects of evaluation, transformation, and alteration from a higher-order perspective. It will be argued that modifying the structure of one’s habits and preferences requires various forms of (self)-distancing: these include the impossibility of (...)
- Philosophy and art in Southeast Asia: a novel approach to aesthetics.Melvin Chen - 2024 - London: Bloomsbury Academic.Guiding you through the topics that shape aesthetics, this introduction explores the truth, meaning, taste, aesthetic merit and the role of perception. Each chapter offers a wealth of examples from Asia, including Sonny Liew's The Art of Charlie Chan Hock Chye, Tan Tai Yong, Kueh Appreciation Day and dragon kiln pottery. They deal with controversies and address central questions, such as: When are artworks considered dangerous? Why does Socrates recommend the banishment of the poets? What are the problems and challenges (...)
- Review of Taste: A Philosophy of Food, Sarah E. Worth. Reaktion books. 2021. [REVIEW]Uku Tooming - 2024 - British Journal of Aesthetics 64 (2):258-260.
- The Philosophical Meaning of Taste : Focusing on the Aesthetics of Hume and Kant.권오상 ) - 2023 - Modern Philosophy 21:5-35.
- Taste: why you like what you like: a cultural studies analysis.Arthur Asa Berger - 2023 - Wilmington, Delaware: Vernon Press.This book takes its point of departure from the work of the French sociologist Pierre Bourdieu, whose book 'Distinction' is considered a classic work of sociological analysis. The topics dealt with are shown in the table of contents below. The book is distinctive in that it offers discussions of four methodologies/theories used in discussing taste: semiotics, psychoanalytic theory, sociological theory and Marxist theory and then applies these theories in the second part of the book to a variety of topics involving (...)
- Uncommon Sense: Jeremy Bentham, Queer Aesthetics, and the Politics of Taste. [REVIEW]Wesley D. Cray - 2023 - British Journal of Aesthetics 63 (4):608-611.It would be an almost comical understatement to say that, throughout my graduate study in philosophy and subsequent years of teaching and writing, I found myself engaging with the works of Jeremy Bentham somewhat infrequently. Beyond flavorful anecdotes about mummified heads and jabs about stilted nonsense in my undergraduate Intro to Ethics courses—as we segued into extended discussion of John Stuart Mill, of course—Bentham’s direct and recognized role in my philosophical activities has been pretty much nonexistent. With all that said: (...)
- The Hope of Agreement: Against Vibing Accounts of Aesthetic Judgment.Nat Hansen & Zed Adams - 2023 - Mind (531):742-760.Stanley Cavell’s account of aesthetic judgment has two components. The first is a feeling: the judge has to see, hear, ‘dig’ something in the object being judged, there has to be an ‘emotion’ that the judge feels and expresses. The second is the ‘discipline of accounting for [the judgment]’, a readiness to argue for one’s aesthetic judgment in the face of disagreement. The discipline of accounting for one’s aesthetic judgments involves what Nick Riggle has called a norm of convergence: the (...)
- On Taste as Ethical-aesthetic Notion in Kant.Hemmo Laiho - 2023 - 12Th Kant-Readings International Conference “Kant and the Ethics of Enlightenment: Historical Roots and Contemporary Relevance”.It may be that Kant’s inherently communal concept of taste is a morally laden notion that blurs the line between the good and the beautiful, on the one hand, and moral evaluation and aesthetic appreciation, on the other. In particular, it can be shown how, on Kant’s view, moralistic factors, such as considerations of social appropriateness, enter into estimations of aesthetic value. Moreover, Kant’s tendency to overlap taste and morals suggests an underlying assumption operative in Kant’s aesthetics. According to this (...)
- Taste and the claims of war: the Kantian sublime and the function of war in public aesthetic judgement.Lucian Staiano-Daniels - 2023 - History of European Ideas 49 (5):822-835.Although Kant disapproved of war, he asserted it was sublime. His views of war are disconnected and in places surprisingly positive, but he avoids grappling with their implications. This article analyses these heterogeneous discussions through Kant’s notion of the sublime to argue that some of his statements imply war’s sublimity can provoke an educated public into forming an international federation: the power to keep all in awe in Kant’s interpretation of international foundation is not the Hobbesean sovereign or a coercive (...)
- Cavendish’s Aesthetic Realism.Daniel Whiting - 2023 - Philosophers' Imprint 23 (15):1-17.In this paper, I offer a new interpretation of Margaret Cavendish’s remarks on beauty. According to it, Cavendish takes beauty to be a real, response-independent quality of objects. In this sense, Cavendish is an aesthetic realist. This position, which remains constant throughout her philosophical writings, contrasts with the non-realist views that were soon after to dominate philosophical reflections on matters of taste in the early modern period. It also, I argue, contrasts with the realism of Cavendish’s contemporary, Henry More. While (...)
- De gustibus est disputandum: An empirical investigation of the folk concept of aesthetic taste.Constant Bonard, Florian Cova & Steve Humbert-Droz - 2022 - In Jeremy Wyatt, Julia Zakkou & Dan Zeman (eds.), Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy. Routledge. pp. 77-108.Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...)
- Forget Taste.Noël Carroll - 2022 - Journal of Aesthetic Education 56 (1):1-27.“Forget Taste” rejects the classical notion of taste as a viable concept for the exercise of critical evaluation and proposes an alternative approach to critical evaluation based crucially on the idea of the constitutive purpose of the artwork. The goal of this paper is to advance an approach—which I call the purpose-driven approach—to the critical evaluation of artworks that develops from and refines the views of art evaluation presented in my previous work. This approach, in virtue of its focus on (...)
- De gustibus est disputandum: An empirical investigation of the folk concept of aesthetic taste.Bonard Constant Charles, Florian Cova & Steve Humbert-Droz - 2022 - In Jeremy Wyatt, Julia Zakkou & Dan Zeman (eds.), Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy. Routledge.Past research on folk aesthetics has suggested that most people are subjectivists when it comes to aesthetic judgment. However, most people also make a distinction between good and bad aesthetic taste. To understand the extent to which these two observations conflict with one another, we need a better understanding of people's everyday concept of aesthetic taste. In this paper, we present the results of a study in which participants drawn from a representative sample of the US population were asked whether (...)
- Art and Learning: A Predictive Processing Proposal.Jacopo Frascaroli - 2022 - Dissertation, University of YorkThis work investigates one of the most widespread yet elusive ideas about our experience of art: the idea that there is something cognitively valuable in engaging with great artworks, or, in other words, that we learn from them. This claim and the age-old controversy that surrounds it are reconsidered in light of the psychological and neuroscientific literature on learning, in one of the first systematic efforts to bridge the gap between philosophical and scientific inquiries on the topic. The work has (...)
- The aesthetic dimensions of esteem in Rousseau: amour-propre, general will, and general taste.Jared Holley - 2022 - British Journal for the History of Philosophy 32 (4):877-894.This article reframes the approach to Rousseau in political philosophy and histories of political thought by emphasizing some neglected aesthetic dimensions of amour-propre and the general will. I argue that Rousseau's account of the origins of amour-propre in aesthetic judgment alerts us to his view that the potentially dangerous effects of amour-propre can be mitigated if its 'extension' to others is grounded in an aesthetic appreciation of beauty. This pushes back against the predominant 'revisionist' interpretation of amour-propre in terms of (...)
- Taste: A Philosophy of Food.Deborah Knight - 2022 - Journal of Aesthetics and Art Criticism 80 (4):510-513.Philosophical aesthetics emerges out of eighteenth-century discussions of taste that paid scant attention to the experience of tasting and ingesting food. Sarah Worth diagnoses this historical oversight and offers an unexpected remedy. She argues that we should start our analysis of aesthetic taste over again, this time beginning with the pleasures of the tongue and mouth, and work out from there to consider the kinds of experience, knowledge, and appreciation that belong to eating and savoring. As she argues, our ability (...)
- Aesthetic Taste: Perceptual Discernment or Emotional Sensibility?Irene Martínez Marín & Elisabeth Schellekens - 2022 - In Jeremy Wyatt, Julia Zakkou & Dan Zeman (eds.), Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy. Routledge.Two common strategies have dominated attempts to account for the nature of taste. On the one side, we have an affectivist understanding of taste where aesthetic attribution has to do with the expression of a subjective response. On the other side, we find a non-affectivist approach according to which to judge something aesthetically is to epistemically track its main aesthetic properties. Our main argument will show that neither emotion nor perception can explain the nature of aesthetic taste single-handedly. In this (...)
- Aesthetic Humility: A Kantian Model.Samantha Matherne - 2022 - Mind 132 (526):452-478.Unlike its moral and intellectual counterparts, the virtue of aesthetic humility has been widely neglected. In order to begin filling in this gap, I argue that Kant’s aesthetics is a promising resource for developing a model of aesthetic humility. Initially, however, this may seem like an unpromising starting point as Kant’s aesthetics might appear to promote aesthetic arrogance instead. In spite of this prima facie worry, I claim that Kant’s aesthetics provides an illuminating model of aesthetic humility that sheds light (...)
- Taste and experience in eighteenth-century British aesthetics: the move toward empiricism.Dabney Townsend - 2022 - New York: Bloomsbury Academic.Taste and Experience in Eighteenth Century Aesthetics acknowledges theories of taste, beauty, the fine arts, genius, expression, the sublime and the picturesque in their own right, distinct from later theories of an exclusively aesthetic kind of experience. By drawing on a wealth of thinkers, including several marginalised philosophers, Dabney Townsend presents a novel reading of the century to challenge our understanding of art and move towards a unique way of thinking about aesthetics. Speaking of a proto-aesthetic, Townsend surveys theories of (...)
- Perspectives on Taste: Aesthetics, Language, Metaphysics, and Experimental Philosophy.Jeremy Wyatt, Julia Zakkou & Dan Zeman (eds.) - 2022 - Routledge.This book offers a sustained, interdisciplinary examination of taste. It addresses a range of topics that have been at the heart of lively debates in philosophy of language, linguistics, metaphysics, aesthetics, and experimental philosophy. Our everyday lives are suffused with discussions about taste. We are quick to offer familiar platitudes about taste, but we struggle when facing the questions that matter--what taste is, how it is related to subjectivity, what distinguishes good from bad taste, why it is valuable to make (...)
- Cycles of Taste, an Unacknowledged Problem in Ancient Art and Criticism.Frank Pentland Chambers - 2021 - Hassell Street Press.This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...)
- Taste, traits, and tendencies.Alexander Dinges & Julia Zakkou - 2021 - Philosophical Studies 178 (4):1183-1206.Many experiential properties are naturally understood as dispositions such that e.g. a cake tastes good to you iff you are disposed to get gustatory pleasure when you eat it. Such dispositional analyses, however, face a challenge. It has been widely observed that one cannot properly assert “The cake tastes good to me” unless one has tried it. This acquaintance requirement is puzzling on the dispositional account because it should be possible to be disposed to like the cake even if this (...)
- A Puzzle About Aftertaste.Akiko Frischhut & Giuliano Torrengo - 2021 - In Andrea Borghini & Patrik Engisch (eds.), A Philosophy of Recipes: Making, Experiencing, and Valuing. Bloomsbury.When we cook, by meticulously following a recipe, or adding a personal twist to it, we sometimes care not only to (re-)produce a taste that we can enjoy, but also to give our food a certain aftertaste. This is not surprising, given that we ordinarily take aftertaste to be an important part of the gustatory experience as a whole, one which we seek out, and through which we evaluate what we eat and drink—at least in many cases. What is surprising (...)$33.78 new (collection) View on Amazon.comRemove from this list Direct downloadExport citation
Bookmark - The Science of Aesthetics, the Critique of Taste, and the Philosophy of Art: Ambiguities and Contradictions.J. Colin McQuillan - 2021 - Aesthetic Investigations 4 (2):144-162.Aesthetics is the part of contemporary academic philosophy that is concerned with art, beauty, criticism, and taste. As such, it must address metaphysical issues, epistemic problems, and questions of value. This makes it difficult to present a coherent account of the subject matter of aesthetics. In this article, I argue that this difficulty is the result of ambiguities and contradictions that arose in disputes about the relationship between the science of aesthetics, the critique of taste, and the philosophy of art (...)
- Uncommon sense: Jeremy Bentham, queer aesthetics, and the politics of taste.Carrie D. Shanafelt - 2021 - Charlottesville: University of Virginia Press.In his extensive private manuscripts, Jeremy Bentham used same-sex male intimacy as a philosophical test-case for the full political and social enfranchisement of women, colonized and enslaved persons, and sexual nonconformists. Bentham argued that oppression in law, philosophy, religion, and literature were all based on aesthetic hierarchies that refused to acknowledge differences of taste in sensory pleasure, including sexual pleasure. In Uncommon Sense, Carrie Shanafelt reads Bentham's sexual nonconformity papers as an argument for the toleration of aesthetic difference as the (...)
- Political Aesthetics: Addison and Shaftesbury on Taste, Morals and Society. [REVIEW]Endre Szécsényi - 2021 - British Journal of Aesthetics 61 (4):602-605.A review of Karl Axelsson's "Political Aesthetics" (Bloomsbury Academic. 2019).
- The Interpersonal Variability of Gustatory Sensation and the Prospects for an Alimentary Aesthetics.Vaughn Bryan Baltzly - 2020 - Intervalla 7 (1):6-16.We all have different “tastes” for different tastes: some of us have a sweet tooth, while others prefer more subtle flavors; some crave spicy foods, while others cannot stand them. As Bourdieu and others have pointed out, these varying judgments seem to be more than mere preferences; often they reflect (and partially constitute) differences of class and culture. But I want to suggest that we’ve possibly overlooked another important source of these divergent gastronomic evaluations, other than hierarchy and caste: mere (...)
- Developing Aesthetic Taste.David Fenner - 2020 - Journal of Aesthetic Education 54 (2):113-122.Once a group of physicists at my university invited me to a physics colloquium. They were certain that I would get a great deal out of it. I love theoretical physics, although my preparation for understanding the "real stuff" is extremely modest. After the first ten minutes of the lecture, I realized I was in way over my head; though I understood the topic and the trajectory, I was not able to follow the path. But I stayed and continued to (...)
- An-aesthetic: Performed philosophies of sensation, confusion, and intoxication.Paul Geary - 2020 - Performance Philosophy 5 (2):293-302.In Michel Serres’ The Five Senses: A Philosophy of Mingled Bodies, he establishes an opposition between two mouths: the anaesthetising, speaking mouth of discourse and analysis and the aesthetic, tasting mouth of sensation. This article uses Serres’ model of the two mouths to think about the performance of knowledge and philosophy in a sensory performance event and the potential of intoxication to unveil or reveal through a process of ‘making strange’. The article begins with an outline and reading of Serres, (...)
- Art Forms Emerging: An Approach to Evaluative Diversity in Art.Mohan Matthen - 2020 - Journal of Aesthetics and Art Criticism 78 (3):303-318.An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...)
- Aesthetic Taste Now: A Look Beyond Art and the History of Philosophy.Michael R. Spicher - 2020 - Journal of Comparative Literature and Aesthetics 3 (43):159-167.Aesthetic taste rose to prominence in the eighteenth century, and then quickly disappeared. Since the start of the 2000s, scholars have slowly returned to the main traditional concepts in aesthetics—beauty, the sublime, and aesthetic experience. Aesthetic taste, however, has lagged behind. I focus on two explanations for this downturn: aesthetics is too often associated with art alone and taste is thought to have no connection with anything objective. In this paper, I suggest that theories of aesthetic taste are still valuable. (...)
- San Alberto Magno y las bellas artes.David Torrijos-Castrillejo - 2020 - de Medio Aevo 14:117-129.This article aims to address the widespread thesis according to which medieval scholastics would not handle the idea of fine art. Based on a suggestion by Anzulewicz, the author shows how Albert the Great did understand the peculiarity of fine arts and put them in close relationship with liberal arts. There are fine arts, such as music, which are sought after for their own sake and can, therefore, be considered as fully liberal. In contrast to them, there are other arts (...)
- Sobre una posible influencia del Quijote en el pensamiento de Hume.Mario Edmundo Chávez Tortolero - 2020 - Ciudad de México, CDMX, México: Universidad Nacional Autónoma de México / Itaca.A lo largo de este libro se ofrece una interpretación novedosa y sugerente del pensamiento de David Hume y del Quijote, leído y citado por aquél, siendo una obra muy influyente en la Inglaterra de su tiempo. El autor pretende mostrar que la influencia del Quijote en el pensamiento de Hume es posible, probable y plausible, para lo cual ofrece diversos argumentos. Desarrolla su interpretación mostrando que un fragmento extraído del Quijote es indispensable para la postulación del criterio del gusto (...)
- De Pulchritudine non est Disputandum? A cross‐cultural investigation of the alleged intersubjective validity of aesthetic judgment.Florian Cova, Christopher Y. Olivola, Edouard Machery, Stephen Stich, David Rose, Mario Alai, Adriano Angelucci, Renatas Berniūnas, Emma E. Buchtel, Amita Chatterjee, Hyundeuk Cheon, In-Rae Cho, Daniel Cohnitz, Vilius Dranseika, Ángeles E. Lagos, Laleh Ghadakpour, Maurice Grinberg, Ivar Hannikainen, Takaaki Hashimoto, Amir Horowitz, Evgeniya Hristova, Yasmina Jraissati, Veselina Kadreva, Kaori Karasawa, Hackjin Kim, Yeonjeong Kim, Minwoo Lee, Carlos Mauro, Masaharu Mizumoto, Sebastiano Moruzzi, Jorge Ornelas, Barbara Osimani, Carlos Romero, Alejandro Rosas, Massimo Sangoi, Andrea Sereni, Sarah Songhorian, Paulo Sousa, Noel Struchiner, Vera Tripodi, Naoki Usui, Alejandro V. del Mercado, Giorgio Volpe, Hrag A. Vosgerichian, Xueyi Zhang & Jing Zhu - 2019 - Mind and Language 34 (3):317-338.Since at least Hume and Kant, philosophers working on the nature of aesthetic judgment have generally agreed that common sense does not treat aesthetic judgments in the same way as typical expressions of subjective preferences—rather, it endows them with intersubjective validity, the property of being right or wrong regardless of disagreement. Moreover, this apparent intersubjective validity has been taken to constitute one of the main explananda for philosophical accounts of aesthetic judgment. But is it really the case that most people (...)
- Aesthetic Comprehension of Abstract and Emotion Concepts: Kant’s Aesthetics Renewed.Mojca Küplen - 2018 - Itinera 15:39-56.In § 49 of the Critique of the Power of Judgment Kant puts forward a view that the feeling of pleasure in the experience of the beautiful can be stimulated not merely by perceptual properties, but by ideas and thoughts as well. The aim of this paper is to argue that aesthetic ideas fill in the emptiness that abstract and emotion concepts on their own would have without empirical intuitions. That is, aesthetic ideas make these concepts more accessible to us, (...)
- Morality and Aesthetics of Food.Shen-yi Liao & Aaron Meskin - 2018 - In Anne Barnhill, Mark Budolfson & Tyler Doggett (eds.), The Oxford Handbook of Food Ethics. Oxford University Press. pp. 658-679.This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to its aesthetic value) and Carolyn Korsmeyer's food moralism (the (...)
- Experimental Philosophical Aesthetics as Public Philosophy.Aaron Meskin & Shen-yi Liao - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. London: Bloomsbury Academic. pp. 309-326.Experimental philosophy offers an alternative mode of engagement for public philosophy, in which the public can play a participatory role. We organized two public events on the aesthetics of coffee that explored this alternative mode of engagement. The first event focuses on issues surrounding the communication of taste. The second event focuses on issues concerning ethical influences on taste. -/- In this paper, we report back on these two events which explored the possibility of doing experimental philosophical aesthetics as public (...)
- Fitting Attitude Theory and the Normativity of Jokes.Stephanie Patridge & Andrew Jordan - 2018 - Erkenntnis 83 (6):1303-1320.We defend a fitting-attitude theory of the funny against a set of potential objections. Ultimately, we endorse a version of FA theory that treats reasons for amusement as non-compelling, metaphysically non-conditional, and alterable by social features of the joke telling context. We find that this version of FA theory is well-suited to accommodate our ordinary practices of telling and being amused by jokes, and helpfully bears on the related faultless disagreement dispute.
- Haptic Taste as a Task.Nicola Perullo - 2018 - The Monist 101 (3):261-276.In this essay I propose a new theory of taste, starting from the assumption of the multisensorial and ecological approach to the senses, as proposed by Gibson in his psychology of perception and by Dewey in his philosophy and aesthetics. In contrast with an optical approach to tastes and tasting, here I propose the concept of haptic taste to describe a perceptual engagement deeply involved in the processes of experiencing food and beverages, although my examples are mostly related to wine. (...)
- Eighteenth Century British Aesthetics.James Shelley - 2018 - Stanford Encyclopedia of Philosophy.18th-century British aesthetics addressed itself to a variety of questions: What is taste? What is beauty? Is there is a standard of taste and of beauty? What is the relation between the beauty of nature and that of artistic representation? What is the relation between one fine art and another? How ought the fine arts be ranked one against another? What is the nature of the sublime and ought it be ranked with the beautiful? What is the nature of genius (...)
- Taste.Giorgio Agamben - 2017 - London: Seagull Books. Edited by Cooper Francis.It is commonplace to consider taste as the organ through which we know beauty and enjoy beautiful things. Looking beyond this facade, the newest translation of Italian philosopher Giorgio Agamben's work lays bare the far-from-comforting character of a fault line that irremediably divides the human subject. At the crossroads of truth and beauty, cognition and pleasure, taste appears as a knowledge that is not known and a pleasure that is not enjoyed. From this vantage point, aesthetics and economics, Homo aestheticus (...)
- Introducing aesthetics and the philosophy of art.Darren Hudson Hick - 2017 - New York: Bloomsbury Academic, An Imprint of Bloomsbury Publishing Plc.'Place in garden, lawn, to beautify landscape.'When Don Featherstone's plastic pink flamingos were first advertised in the 1957 Sears catalogue, these were the instructions. The flamingos are placed on the cover of this book for another reason: to start us asking questions. That's where philosophy always begins.Introducing Aesthetics and the Philosophy of Art is written to introduce students to a broad array of questions that have occupied philosophers since antiquity, and which continue to bother us today--questions like: - Is there (...)
- Nicola Perullo. Taste as Experience: The Philosophy and Aesthetics of Food. Reviewed by.Korsmeyer Carolyn - 2017 - Philosophy in Review 37 (2):68-70.Nicola Perullo's Taste as Experience draws on the author's philosophical background and his experience as a professor of aesthetics at a culinary institute. He aims to understand the experience of taste, analyzing it into three 'modes of access': pleasure, knowledge, and indifference. His perspective, influenced by Dewey, illuminates various elements of taste, eating, and drinking.
- Disputing Taste.Dominic McIver Lopes - 2017 - In James O. Young (ed.), The Semantics of Aesthetic Judgements. Oxford, GB: Oxford University Press UK. pp. 61-81.Philosophers have championed contextualist and relativist semantics for aesthetic discourse that attempt to explain faultless disagreement. However, both types of semantics do a good job explaining faultless disagreement. As a rule, more explananda assist in theory choice. This chapter proposes that three more facts need explaining. Aesthetic disputes revolve around objects, even as they express attitudes. They also extend into lengthy exchanges wherein reasons are offered and withdrawn. Finally, they play a role in the formation and regulation of aesthetic practices. (...)
- Nietzsche on taste: epistemic privilege and anti-realism.Jonathan Mitchell - 2017 - Inquiry: An Interdisciplinary Journal of Philosophy 60 (1-2):31-65.The central aim of this article is to argue that Nietzsche takes his own taste, and those in the relevant sense similar to it, to enjoy a kind of epistemic privilege over their rivals. Section 2 will examine the textual evidence for an anti-realist reading of Nietzsche on taste. Section 3 will then provide an account of taste as an ‘affective evaluative sensibility’, asking whether taste so understood supports an anti-realist reading. I will argue that it does not and that (...)
- The Fear of Aesthetics in Art and Literary Theory.Sam Rose - 2017 - New Literary History 48 (2):223-244.Is aesthetics, as has recently been claimed, now able to meet the accusations often levelled against it? This essay examines counters to three of the most common: that aesthetics is based around overly narrow conceptions of "art" and "the aesthetic"; that aesthetics is politically disengaged; and that aesthetics fails to engage with actual art objects and their histories.
- The concept of the aesthetic.James Shelley - 2017 - Stanford Encyclopedia of Philosophy.Introduced into the philosophical lexicon during the Eighteenth Century, the term ‘aesthetic’ has come to be used to designate, among other things, a kind of object, a kind of judgment, a kind of attitude, a kind of experience, and a kind of value. For the most part, aesthetic theories have divided over questions particular to one or another of these designations: whether artworks are necessarily aesthetic objects; how to square the allegedly perceptual basis of aesthetic judgments with the fact that (...)
- Aesthetic Properties as Powers.Vid Simoniti - 2017 - European Journal of Philosophy 25 (4):1434-1453.This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...)
- Aesthetic Taste.Michael R. Spicher - 2017 - Internet Encyclopedia of Philosophy.Aesthetic Taste Taste is the most common trope when talking about the intellectual judgment of an object’s aesthetic merit. This popularity rose to an unprecedented degree in the eighteenth century, which is the main focus of this article. Taste became a major concept in aesthetics. This prominence was so pronounced that it might seem that … Continue reading Aesthetic Taste →.
- Mathematics and Aesthetics in Kantian Perspectives.Wenzel Christian Helmut - 2016 - In Cassaza Peter, Krantz Steven G. & Ruden Randi R. (eds.), I, Mathematician II. Further Introspections on the Mathematical Life. The Consortium of Mathematics and its Applications. pp. 93-106.This essay will inform the reader about Kant’s views on mathematics and aesthetics. It will also critically discuss these views and offer further suggestions and personal opinions from the author’s side. Kant (1724-1804) was not a mathematician, nor was he an artist. One must even admit that he had little understanding of higher mathematics and that he did not have much of a theory that could be called a “philosophy of mathematics” either. But he formulated a very influential aesthetic theory (...)Remove from this listExport citation Bookmark
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