British Journal of Aesthetics 48 (3):278-294 (2008)
AbstractOn a contemporary Humean-influenced view, the responses of suitably idealized appreciators are presented as tracking, or even determining, facts about artistic value. Focusing on the intra-personal case, this paper argues that (i) facts about the refinement and reconfiguration of aesthetic character together with (ii) the manner in which autobiography and character are implicated in artistic appreciation make it de facto unlikely that we can reliably come to know how our ideal counterpart would respond to a given artwork. Attribution of superhuman abilities to our ideal counterpart partially addresses this worry, but undermines a central feature of the theoretical motivation for the idealizing model. Insofar as response-dependent accounts of artistic value are inextricably tied to an idealizing view of critics, we have reason to reject them.
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References found in this work
Of the Standard of Taste.David Hume - 1757 - In Essays Moral, Political, and Literary. Libertyclassics (1987). pp. 226-249.
Hume's Standard of Taste.Noel Carroll - 1984 - Journal of Aesthetics and Art Criticism 43 (2):181-194.
The Ideal Aesthetic Observer Revisited.Charles Taliaferro - 1990 - British Journal of Aesthetics 30 (1):1-13.
Citations of this work
Aesthetic Practices and Normativity.Robbie Kubala - 2021 - Philosophy and Phenomenological Research 103 (2):408-425.
An Absolutist Theory of Faultless Disagreement in Aesthetics.Carl Baker & Jon Robson - 2017 - Pacific Philosophical Quarterly 98 (3):429-448.
Art Criticism as Practical Reasoning.Anthony Cross - 2017 - British Journal of Aesthetics 57 (3):299-317.
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