Experientialism in aesthetics is the view that the artistic merit or the aesthetic value of something is determined by the final value of certain experiences of it. These are usually specified as experiences of it with understanding and appreciation. Until recently, experientialism was the dominant view. Not anymore. Experientialists are now subject to a barrage of objections, many of which they have not answered. Here I argue that all of these objections fail. I develop a new form of experientialism that (...) is immune to them. It also has an independent rationale. It incorporates an account of the value of art appreciation that is plausible in its own right. And it endorses many of the core insights of anti-experientialists, especially concerning the final value of good art. Those of us unconvinced by experientialism need to take this form of it seriously. I conclude by identifying some genuine problems it faces. Even these aren’t clearly insoluble. (shrink)

Within the debate on the epistemology of aesthetic appreciation, it has a long tradition, and is still very common, to endorse the sentimentalist view that our aesthetic evaluations are rationally grounded on, or even constituted by, certain of our emotional responses to the objects concerned. Such a view faces, however, the serious challenge to satisfactorily deal with the seeming possibility of faultless disagreement among emotionally based and epistemically appropriate verdicts. I will argue that the sentimentalist approach to aesthetic epistemology cannot (...) accept and accommodate this possibility without thereby undermining the assumed capacity of emotions to justify corresponding aesthetic evaluations – that is, without undermining the very sentimentalist idea at the core of its account. And I will also try to show that sentimentalists can hope to deny the possibility of faultless disagreement only by giving up the further view that aesthetic assessments are intersubjective – a view which is almost as traditional and widely held in aesthetics as sentimentalism, and which is indeed often enough combined with the latter. My ultimate conclusion is therefore that this popular combination of views should better be avoided: either sentimentalism or intersubjectivism has to make way. (shrink)

David Hume's relatively short essay 'Of the Standard of Taste' deals with some of the most difficult issues in aesthetic theory. Apart from giving a few pregnant remarks, near the end of his discussion, on the role of morality in aesthetic evaluation, Hume tries to reconcile the idea that tastes are subjective (in the sense of not being answerable to the facts) with the idea that some objects of taste are better than others. 'Tastes', in this context, are the pleasures (...) or displeasures that a person can take in the beauties of poems, paintings, and other artistic compositions (though Hume also wants to stress the continuities between tastes, so understood, and the bodily sense of taste). The position at which Hume arrives in the essay (despite some dialectical unclarity) is that some people – the 'true judges'– determine by their 'joint verdict' which works are meritorious. This solution continues to exercise a fascination, as does Hume's complicated route to it. Author Recommends: Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. This paper places 'Of the Standard of Taste' in an especially rich context, and asks why Hume concentrates on true judges instead of the improvement of one's own taste. Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon Press, 1984), 177–208. This chapter, embedded in an exposition of Mothersill's 'First Thesis' (the denial that there are principles of taste) and 'Second Thesis' (the affirmation that some judgments of taste are genuine judgments), gives a detailed running commentary on Hume's essay. A shorter self-contained version of the chapter appeared as 'Hume and the Paradox of Taste' in Aesthetics: A Critical Anthology , 2nd ed., eds. George Dickie, Richard Sclafani, and Ronald Roblin (New York, NY: St. Martin's Press, 1989, 269–86). Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. An importance recent article, Levinson's piece argues that the 'real' difficulty with Hume's essay has gone unnoticed: why should I care about what Hume's true judges think? Christopher Williams, 'Some Questions in Hume's Aesthetics', Philosophy Compass 2/2 (2007). This article provides a brief overview of the topics discussed under weeks 3–5 in the sample syllabus below. It is intended to provide a roadmap for the particular set of readings listed there. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. This is a stimulating paper in moral philosophy that treats Hume's essay on taste as a model for a serious subjectivism. Wiggins then presents his own brand of subjectivism as an alternative to Hume's. Online Materials: Hume's Aesthetics (Ted Gracyk): http://plato.stanford.edu/entries/hume-aesthetics/ Sample Syllabus: Recommended background reading on Hume's historical context: Peter Kivy, The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics , 2nd ed. (Oxford: Oxford University Press, 2003), especially Part III. Recommended background reading on the general topic of taste: David A. Whewell, 'Taste', Blackwell Companion to Aesthetics (Oxford: Blackwell, 1992), 415–18. Dabney Townsend and Carolyn Korsmeyer, 'Taste', Encyclopedia of Aesthetics , ed. Michael Kelly (New York, NY and Oxford: Oxford University Press, 1998), 4:355–62. Ted Cohen, 'The Philosophy of Taste: Thoughts on the Idea', Blackwell Guide to Aesthetics , ed. Peter Kivy (Oxford: Blackwell, 2004), 167–73. Week 1: Hume on beauty, art, and aesthetic judgment in the Treatise of Human Nature and the Enquiry Concerning the Principles of Morals The following references are usable for any complete edition of the Treatise or Enquiry Treatise , 2.1.8 ('Of Beauty and Deformity') Treatise , 2.2.5 ('Of Our Esteem for the Rich and Powerful') Treatise , 2.2.8 ('Of Malice and Envy'), final three paragraphs Treatise , 2.2.11 ('Of the Amorous Passion, or Love Betwixt the Sexes') Treatise , 3.1.2 ('Moral Distinctions Deriv'd from a Moral Sense') Treatise , 3.3.1 ('Of the Origin of the Natural Virtues') Treatise , 3.3.5 ('Some Farther Reflexions Concerning the Natural Virtues') Enquiry , Appendix 1 ('Of moral sentiment') Week 2: Hume's essays Essays Moral, Political, and Literary , ed. Eugene Miller (Indianapolis, IN: LibertyClassics, 1985) is the most commonly used edition today. 'Of the Delicacy of Taste and Passion' 'Of Eloquence' 'Of the Rise and Progress of the Arts and Sciences' 'Of Simplicity and Refinement in Writing' 'Of Tragedy' 'Of the Standard of Taste' Week 3: Circularity–Virtuous or Vicious? Peter Kivy, 'Hume's Standard of Taste: Breaking the Circle', British Journal of Aesthetics (1967): 57–66. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. Week 4: Rules of Art Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon, 1984), 177–208. James Shelley, 'Hume's Double Standard of Taste', Journal of Aesthetics and Art Criticism (1994): 437–45. Nick Zangwill, 'Hume, Taste, and Teleology', The Metaphysics of Beauty (Ithaca, NY: Cornell University Press, 2001), 149–65. Week 5: The True Judge Malcolm Budd, 'Hume and Kant', 'Hume's Standard of Taste', 'Hume and Human Nature', Values of Art (London: Allen Lane, 1995), 16–24 . Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. Week 6: Moralism in Aesthetic Judgment: Hume and Beyond Kendall Walton, 'Morals in Fiction and Fictional Morality', Proceedings of the Aristotelian Society (1994): 27–50. Richard Moran, 'The Expression of Feeling in Imagination', Philosophical Review (1994): 75–106. Tamar Szabo-Gendler, 'The Puzzle of Imaginative Resistance', Journal of Philosophy (2000): 55–81. Focus Questions 1. How does Hume distinguish between matters of 'fact' and 'sentiment'? 2. What is a 'rule of art', and are there any rules? 3. Can a bad critic be 'silenced'? 4. What are the characteristics of good critics? 5. Should we expect good critics to agree on the merits of a work, and should I care about becoming a good critic myself? 6. Is it possible to distinguish variations in taste for which we should expect a standard and variations for which it is 'vain' to have such an expectation? 7. How is the excellence of a work related to the exercise of taste? 8. If a work of literature has a moral outlook that differs from our own, should we consider the work defective on literary grounds? (shrink)

The central problem posed in Hume's essay ‘Of the Standard of Taste’ concerns the mutual adjustment of two things: a skepticism about the correctness of tastes, and a belief that artistic productions genuinely differ in their merits. In response, Hume modifies the skepticism by proposing that the ‘joint verdict of true judges’ is the standard of taste. This article surveys three sets of issues in connection with this solution: the role of rules in grounding verdicts; the possibility of circularity in (...) the judge‐verdict relation; and the relevance of the judges’ verdicts to those that non‐judges would or should make. (shrink)

The dominant view about the nature of aesthetic value holds it to be response-dependent. We believe that the dominance of this view owes largely to some combination of the following prevalent beliefs: 1 The belief that challenges brought against response-dependent accounts in other areas of philosophy are less challenging when applied to response-dependent accounts of aesthetic value. 2 The belief that aesthetic value is instrumental and that response-dependence about aesthetic value alone accommodates this purported fact. 3 The belief that response-dependence (...) about aesthetic value alone accommodates the widely acknowledged anthropocentricity of aesthetic value. 4 The belief that response-dependence about aesthetic value alone accommodates aesthetic normativity. We argue that each of these beliefs is false, and that the dominance of response-dependent accounts of aesthetic value is therefore largely without foundation. (shrink)

This essay surveys the main objections to aesthetic hedonism, the view that aesthetic value is reducible to the value of aesthetic pleasure or experience. Hedonism is the dominant view of aesthetic value, but a spate of recent criticisms has drawn its accuracy into question. I introduce some distinctions crucial to the criticisms, before using the bulk of the essay to identify and review six major lines of argument that hedonism's critics have employed against it. Whether or not these arguments suffice (...) to refute hedonism decisively, I argue that its privileged status, as the sole contender in aesthetic value theory, is detrimental to downstream research on aesthetic phenomena. The essay concludes with an overview of current work and promising avenues of inquiry into non-hedonic alternatives. (shrink)

In this essay, the author considers intertextuality in contemporary musical work, conceptualizing it not only as a critical category and as an artistic convention, but also as an aesthetic strategy. Listening for texts, as it were, opens the work for influences and gives it new purposes. The multiple texts, which are mutually interdependent, alter each other’s meaning and are “read” and “re-read” during aesthetic experience. Depending on the listener, these meanings are more or less pronounced; some are seen as primary, (...) while others are seen as secondary. Sometimes they are co-dependent and meaningful together, but sometimes they shy each other out. The multilayered quality of the work is acknowledged and seen as important even before individual meanings can be discovered. The author proposes a look at intertextuality in reference to musical works by Steve Reich,. The author uses Ryszard Nycz’s definition of intertextuality and confronts it with Umberto Eco’s idea of interpretation and the structural openness of art. Putting forward a concept of listening-in as a necessary element of receiving and understanding certain musical works, she suggests accepting an intertextual aesthetic strategy for a satisfactory aesthetic experience. Assuming the presence of multiple texts, which are different in character and meaning, and accepting their interdependence, changes the reception of the work and colors its qualities. The challenge is not only to seek out different texts hidden behind the purely musical face of the work but to find out the way they influence each other, knowing full well that the major or minor role those texts play depend on the listener as much as on the author. (shrink)

Originally published as one of the Four Dissertations and then included in the 1758 edition of the Essays, the 1757 paper “Of the Standard of Taste” qualifies as David Hume’s official contribution to criticism.1 A few exceptions aside, no real or thorough effort has been taken by its critics to place the essay in the overall context of Hume’s science of human nature.2 Hume has certainly his share of responsibility in this: “Most of these essays were wrote with a View (...) of being published as WEEKLY-PAPERS, and were intended to comprehend the Design both of the SPECTATORS & CRAFTSMEN. But having dropped that Undertaking, partly from LAZINESS, partly from WANT OF LEISURE, and being willing to make Trial of my .. (shrink)

Culture can be defined as “group typical behaviour patterns shared by members of a community that rely on socially learned and transmitted information”. Once thought to be a distinguishing characteristic of humans relative to other animals it is now generally accepted to exist more widely, with especially abundant evidence in non-human primates, cetaceans, and birds. More recently, cumulative cultural evolution has taken on this distinguishing role. CCE, it is argued, allows humans, uniquely, to ratchet up the complexity or efficiency of (...) cultural traits over time. This “ratchet effect” gives the capacity to accumulate beneficial modifications over time beyond the capacities of a single individual. Mesoudi and Thornton define a core set of criteria for identifying CCE in humans and non-human animals that places emphasis on some performance measure of traits increasing over time. They suggest this emphasis is also pertinent to cultural products in the aesthetic domain, but is this the case? Music, art and dance evolve over time, but can we say they gain beneficial modifications that increase their aesthetic value? Here we bring together perspectives from philosophy, musicology and biology to build a conceptual analysis of this question. We summarise current thinking on cumulative culture and aesthetics across fields to determine how aesthetic culture fits into the concept of CCE. We argue that this concept is problematic to reconcile with dominant views of aesthetics in philosophical analysis and struggles to characterise aesthetic cultures that evolve over time. We suggest that a tension arises from fundamental differences between cultural evolution in aesthetic and technological domains. Furthermore, this tension contributes to current debates between reconstructive and preservative theories of cultural evolution. (shrink)

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 (...) properties as causally efficient powers, analogous to properties like fragility or poisonousness. To show how such a view can be made ontologically respectable, I draw on recent ‘dispositionalist’ accounts of powers in philosophical metaphysics. I then offer two arguments in favour of this view. First, the view matches the phenomenology of aesthetic judgement. Second, the view offers an explanation of how it is that critics can demand agreement with their aesthetic judgements. (shrink)

Value empiricists in aesthetics claim that we can explain the value of artworks by appeal to the value of the experiences they afford. I raise the question of the value of those experiences. I argue that while there are many values that such experiences might have, none is adequate to explaining the value of the works that afford the experiences. I then turn to defending the alternative to value empiricism, which I dub the object theory . I argue that if (...) there is some problem attending the object theory, commensurate with the problems attending empiricism, no one seems to have any idea what it is. I close by urging that the object theory be granted a fresh hearing. (shrink)

The main aim of this paper is to examine the practice of describing intellectual pursuits in aesthetic terms, and to investigate whether this practice can be accounted for in the framework of a standard conception of aesthetic experience. Following a discussion of some historical approaches, the paper proposes a way of conceiving of aesthetic experience as both epistemically motivating and epistemically inventive. It is argued that the aesthetics of intellectual pursuits should be considered as central rather than marginal to our (...) philosophical accounts of aesthetic experience, and that our views about the relation between the aesthetic and cognitive domains should be reconfigured accordingly. (shrink)

I examine the prospects for an ideal observer theory in aesthetics modelled on Roderick Firth’s 1952 paper ‘Ethical Absolutism and the Ideal Observer’. The first generation of philosophers to consider an Ideal Aesthetic Observer found fault with Firth’s omniscience condition; more recent writers have criticized the affective component of an IAO’s response. In the end, most discussants reject the possibility of an IAO theory. Though the IAO theory gets the model wrong for answering meta‐aesthetic questions, revisiting the debate prompts useful (...) reconsideration of the role of the critic and the nature of aesthetic appreciation. (shrink)

I argue that we are subject to ‘aesthetic luck’ in four senses: constitutive, upbringing, sociogeographic, and circumstantial. I review evidence from our practices, philosophy, and science. I then consider what challenges aesthetic luck raises to the communicability of aesthetic judgments, the formation of one’s aesthetic character, and the goal of a life well lived, as well as possible answers to those challenges.

Is it ever aesthetically permissible to engage in acts of cultural appropriation? This paper shows how recent work on aesthetic normativity can help answer this question. Drawing on the work of Lopes and McGonigal, I argue that in many cases those who engage in cultural appropriation act against their aesthetic reasons. Lopes and McGonigal advocate for externalist accounts of aesthetic reasons according to which whether or not an agent has an aesthetic reason to act depends on whether or not their (...) action will be an aesthetic achievement. Employing this framework, I argue that insofar as acts of cultural appropriation are seldom aesthetic achievements, many agents who engage in culturally appropriative aesthetic activities act against their aesthetic reasons. (shrink)

I offer a set of sufficient conditions for beauty, drawing on Parsons and Carlson’s account of ‘functional beauty’. First, I argue that their account is flawed, whilst falling short of...

Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which (...) they operate. This paper proposes a new theory of aesthetic value specifically to explain facts about the sociality of aesthetic agents. (shrink)

Two of the principal roles or positions in the aesthetic/artistic situation are those of artist and aesthete. The former is obviously primarily a creative role, while the latter is obviously primarily an appreciative role. And these roles, as we know, are also interdependent: aesthetes would have little, or at any rate less, to appreciate without artists, while artists would have little, or at any rate less, creative motivation without appreciators, with aesthetes as the most important vanguard therein. But what, more (...) significantly, differentiates artist and aesthete? Do the basic impulses of the two tribes coincide, or are they rather in conflict? Is being an artist fully compatible with being an aesthete, or might there be a fundamental tension between those identities? Are the same talents, inclinations, and attitudes essential to being a successful artist those which make for a successful aesthete, or are they at some level at war with one another? These are some of the questions that are explored in this article. (shrink)

Are there aesthetic obligations, and what would account for their binding force if so? I first develop a general, domain‐neutral notion of obligation, then critically discuss six arguments offered for and against the existence of aesthetic obligations. The most serious challenge is that all aesthetic obligations are ultimately grounded in moral norms, and I survey the prospects for this challenge alongside three non‐moral views about the source of aesthetic obligations: individual practical identity, social practices, and aesthetic value primitivism. I conclude (...) by raising questions for further work in this area. (shrink)

What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are explained by norms internal (...) to a practice. Practice-internal norms, however, cannot settle the distinct question of which practices we have reason to opt into. When it comes to the source of aesthetic normativity—in virtue of what aesthetic value is genuinely reason-giving—I argue that existing accounts, which appeal to pleasure or achievement, are inadequate. The only practice-external aesthetic requirement is a generic one to opt into at least some aesthetic practices. (shrink)

Discussions of aesthetic reasons and normativity are becoming increasingly popular. This piece outlines six basic questions about aesthetic reasons, normativity, and value and discusses the space of possible answers to these questions. I divide the terrain into two groups of three questions each. First are questions about the shape of aesthetic reasons: what they favour, how strong they are, and where they come from. Second are relational questions about how aesthetic reasons fit into the wider normative landscape: whether they are (...) distinctive, what their normative status is, and how they interact with each other and with non-aesthetic reasons. This piece aims to provide a taxonomy to clarify and organise the burgeoning literature and to make a few concrete suggestions for avenues of future research. (shrink)

David Hume's celebrated essay ‘‘Of the Standard of Taste’’ is the central text for understanding Hume's aesthetic theory, yet an important claim in that essay has received inadequate attention in the literature. Although it is understood that Hume stresses the importance of delicacy of taste, it is less well understood that this delicacy is a delicacy of imagination, which is distinct from a delicacy of perception. Using both the essay and other texts to elucidate this thesis, it appears that Hume's (...) account of taste faces unresolved difficulties in defending a standard of taste. (shrink)

The aim of the paper is to reassess the prospects of a widely neglected affective conception of the aesthetic evaluation and appreciation of art. On the proposed picture, the aesthetic evaluation and appreciation of art are non-contingently constituted by a particular kind of pleasure. Artworks that are valuable qua artworks merit, deserve, and call for a certain pleasure, the same pleasure that reveals (or at least purports to reveal) them to be valuable in the way that they are, and constitutes (...) their aesthetic evaluation and appreciation. This is why and how art is non-contingently related to pleasure. Call this, the Affective View. While I don’t advance conclusive arguments for the Affective View in this paper, I aim to reassess its prospects by (1) undermining central objections against it, (2) dissociating it from hedonism about the value of artworks (the view that this value is grounded in, and explained by, its possessors’ power to please), and (3) introducing some observations on the practice of art in support of it. Given that the objections I discuss miss their target, and given the observations in support of it, I conclude that the Affective View is worth serious reconsideration. (shrink)

This study looks at the emerging branch of everyday aesthetics from the perspective of the fracture which exists in its core, as a result of the double reading of the everyday: the first, which elevates it to the realm of the extraordinary and the second, in which it remains strictly ordinary. Our purpose here is to repair this fracture by turning to David Hume’s functionalist aesthetics, where disinterest and utility are reconciled through sympathy and the affective experience of otherness that (...) it provides. Once transferred to the everyday sphere, sympathy facilitates understanding between these two versions, since the aesthetic appreciation of everyday objects or common activities requires, like the second version, that they remain in the practical environment and, like the first, to see something special in them, which is the possibility of one’s own or another’s well-being. (shrink)

This collection brings together a selection of my recently published or forthcoming articles. What unites them is their common concern with one of the central ambitions of philosophy, namely to get clearer about our first-personal perspective onto the world and our minds. Three aspects of that perspective are of particular importance: consciousness, intentionality, and rationality. The collected essays address metaphysical and epistemological questions both concerning the nature of each of these aspects and concerning the various connections among them. More generally, (...) given that intentionality and ratio- nality are both normative phenomena, the main theme of the articles is the relationship between consciousness and normativity and the centrality of this relationship to our first-personal perspective. -/- This focus culminates in the defense of two specific views, experiential rationalism and experiential intentionalism. The first is, very roughly, the view that how our mental episodes are given in consciousness reflects their rational role in our mental lives: it is part of what our mental episodes subjectively are like that we phenomenally experience them as providing and/or responding to certain kinds of reasons. The central claim of the second view, on the other hand, is that the intentionality of our mental episodes is essentially linked to consciousness and involves a token-reflexive element: they intentionally present not only the world, but also themselves as being a certain way. -/- Some of the essays also deal with the contrast between our first- and our third-personal perspectives and the — to some extent related — division of labour between philosophy and the empirical sciences. Both perspectives have their limitations and sometimes conflict with each other, raising the question of what the consequences are for accounts of our first-personal knowledge and its internal or external objects. (shrink)

Resolving to finish reading a novel, staying true to your punk style, or dedicating your life to an artistic project: these are examples of aesthetic commitments. I develop an account of the nature of such commitments, and I argue that they are significant insofar as they help us manage the temporally extended nature of our aesthetic agency and our relationships with aesthetic objects. At the same time, focusing on aesthetic commitments can give us a better grasp on the nature of (...) aesthetic normativity; this is because, in making aesthetic commitments, we are capable of giving aesthetic concerns the weight of obligation. I argue that appealing to aesthetic commitments allows us to account for the existence of aesthetic obligations as well as their grounding. I conclude by arguing that, although the aesthetic domain is a domain of play and freedom of choice, there is nevertheless an important place in it for both aesthetic commitments and the aesthetic obligations they generate. (shrink)

From the perspective of art education, the worst-case philosophical scenario is the hedonist-subjectivist account of art. If we measure art by the pleasure we gain from it, it may seem senseless to attempt teaching the reception of art. David Hume's ‘Of the Standard of Taste’ provides an argument for the art-education enthusiast, explaining that—even on a subjectivist account—art education crystallises our own preferences. While I refer to a historical debate and provide a close reading of an 18th-century essay, my goal (...) is to offer a philosophical solution to an ongoing dilemma; I use Hume's essay to ground the justification of art education. (shrink)

Some philosophers writing on the possibility of faultless disagreement have argued that the only way to account for the intuition that there could be disagreements which are faultless in every sense is to accept a relativistic semantics. In this article we demonstrate that this view is mistaken by constructing an absolutist semantics for a particular domain – aesthetic discourse – which allows for the possibility of genuinely faultless disagreements. We argue that this position is an improvement over previous absolutist responses (...) to the relativist's challenge and that it presents an independently plausible account of the semantics of aesthetic discourse. (shrink)

In the Western classical tradition music criticism represents one of the most complex and influential forms of performance assessment and evaluation. However, in the age of peer opinion sharing and quick communication channels it is not clear what place music critics’ judgments still hold in the classical music market. This article presents expert music critics’ view on their role, function, and influence. It is based on semi-structured interviews with 14 native English- and German-speaking critics who had an average of 32 (...) years professional activity in classical music review. We present the first visual model to summarize music critics’ descriptions of their role and responsibilities, writing processes, and their influences. The model distinguishes six roles : consumer adviser, teacher, judge, writer, stakeholder, and artist advocate. It identifies core principles governing critical writing for music as well as challenges that arise from balancing the above six responsibilities whilst remaining true to an implicit code of conduct. Finally, it highlights the factors that inform critics’ writing in terms of the topics they discuss and the discursive tools they employ. We show that music critics self-identify as highly skilled mediators between artists, producers and consumers, and justify their roles as judge and teacher based on a wealth of experience as against the influx of pervasive amateur reviews. Our research approach also offers occupation-based insights into professional music review standards, including the challenges of maintaining objectivity and resisting commercial pressures. This article offers a new viewpoint on music critics’ judgments and recommendations that helps to explain their expectations and reflections. (shrink)

Bu çalışmada David Hume’un, insanların beğenileri arasında var olduğu açık bir şekilde görülen farklılıklara rağmen, beğeninin bir standardının bulunduğuna yönelik iddiası incelenecektir. Hume beğeni standardını, ilk kez, 1757 tarihinde yayımlanan Of the Standart of Taste başlıklı makalesinde ele alır. Hume’un söylediklerini tartışmalı hale getiren iki unsur vardır: Birincisi Hume gibi, deneyimden bilgi edinmenin en önemli olanaklarından biri olan tümevarımsal akıl yürütmenin temellerini sarsan bir eleştiri ortaya koyan deneyci bir filozofun, bir beğeni standardının var olduğunu iddia etmesidir, ikincisiyse, onun bu iddiasını (...) ortaya koyarken başvurduğu yolların tümevarımsal bir akıl yürütme içeriyor gibi görünmesidir. Bu nedenlerle, Hume’un beğeni standardıyla ilgili argümanlarını detaylı bir şekilde incelenmesi amaçlanmıştır. Ancak böylesi bir inceleme kapsamlı bir çalışmayı gerektirdiği için, bu inceleme iki aşama üzerinden gerçekleştirilmiştir. İncelemenin birinci aşaması, şu an karşınızda bulunan bu makale olup, burada Hume’un insanlar arasında beğeni farklılıkları olduğunu açıkça görmesine rağmen, nasıl olup da bir beğeni standardı olduğunu iddia ettiğini ele alınıyor. Hume’un bu beğeni standardının kaynağını nerede gördüğü; beğeni farklılıklarıyla bu standardı nasıl bağdaştırdığı; Hume’un beğeni standardının ortaya çıkmasını sağlayacaklarını iddia ettiği ideal eleştirmenlerin taşıması gerektiğini söylediği niteliklerin neler olduğu ve bunların Hume’un genel felsefi eğilimleriyle ilişkilerinin neler olduğu gibi konular bu makalede ele alınmamış olup, ayrı bir makale olarak sunulacaktır. (shrink)

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 (...) they usually distinguish between good and bad taste, how they define them, and whether aesthetic taste can be improved. Those who answered positively to the first question were asked to provide their definition of good and bad taste, while those who answered positively to the third question were asked to detail by what means taste can be improved. Our results suggest that most people distinguish between good and bad taste, and think taste can be improved. People's definitions of good and bad taste were varied, and were torn between very subjectivist conceptions of taste and others that lent themselves to a more objectivist interpretation. Overall, our results suggest that the tension Hume observed in conceptions of aesthetic taste is still present today. (shrink)

Some have argued that the possibility of faultless disagreement gives relativist semantic theories an important explanatory advantage over their absolutist and contextualist rivals. Here I combat this argument, focusing on the specific case of aesthetic discourse. My argument has two stages. First, I argue that while relativists may be able to account for the possibility of faultless aesthetic disagreement, they nevertheless face difficulty in accounting for the intuitive limits of faultless disagreement. Second, I develop a new non-relativist theory which can (...) account for the full range of data regarding faultless disagreement. This view—‘Humean Absolutism’—integrates two of Hume’s central principles from Of the Standard of Taste into a truth-conditional framework, resulting in a non-bivalent theory of aesthetic truth. I argue that Humean Absolutism can underwrite the possibility of faultless disagreement whilst retaining reasonable limits around the phenomenon. I close by relating this positive account of faultless disagreement to broader issues concerning the cognitive role of truth-value gaps. -/- *NB - this is an unpublished paper and is no longer in progress.*. (shrink)