When examining the relevance of Bentham’s thinking to debates on cultural value, we should look, first of all, at the significance of utility as an independent ethical principle. Bentham finds the term ‘utility’ in the philosophy of David Hume, condemns Hume’s use of this term as ambiguous, and establishes utility as an independent ethical principle that is opposed to Hume’s preference for delicacy of sentiment and good taste. I argue that Hume is averse to the very thing that Bentham places (...) at the centre of his ethics, namely a reckoning that we can all make with how pleasure shapes our sense of self. Bentham places us under an obligation to work out what our pleasures mean for us, how they situate us in the world, and how others will respond to what gives us the most pleasure. This working hypothesis on what gives each of us the most pleasure, must be conveyed in neutral, non-judgemental terms. Bentham espouses simple amusements, including games of push-pin and solitaire, as examples of how a recalculation of the possibilities for increasing pleasure and diminishing pain can take place, in defiance of cultural evaluations of what is ‘high’ and ‘low’. These distinctions of high and low culture are only one example of how definitions of culture affect the social organization of pleasure, within a broader conception of cultural value. Bentham asks whether definitions of cultural value are equitable and just, when seen in relation to the ethical aim of prolonging pleasure and diminishing pain. (shrink)

The four articles in this special edition of Revue d’études benthamiennes, by Jean-Pierre Cléro, Tsin Yen Koh, Carrie Shanafelt and Malcolm Quinn, analyse the relationship of pleasure to cultural value in Bentham’s philosophy, particularly as this concerns questions of aesthetic judgment. An obstacle to the analysis of the relationship of pleasure to cultural value in Bentham’s thought, is that, aside from his consistent opposition to distinctions of good and bad taste, Bentham had very littl...

This article uses Jeremy Bentham's notion of disambiguation, which links language to power and ‘sinister interest’, to analyse criticisms of the Royal Academy of Arts by Benthamites and Philosophic Radicals at the Select Committee on Arts and Manufactures of 1835/6. This practice of disambiguation aimed to produce a distinction between the Royal Academy of Arts and the publicly funded art school. I situate this activity within the linguistic turn taken by Bentham's ethics, and its relevance to a dilemma of pedagogy (...) in commercial society framed by Adam Smith. Smith's dilemma turns on the conflict between the requirement for a pedagogy that conforms to the principle of free trade, and an equally binding requirement for a virtue ethical model of pedagogy that offers a remedy for the corrupting effects of commerce on character. Adam Smith's support for private academies of art asserted a hierarchy of virtue ethics over utility, thus safeguarding autonomous ethical reasoning within capitalist forms of social life. Bentham's thought, in contrast, eschews the link between ethics and character, and places ethics itself within normative rules of language and cognition. (shrink)

This book offers an interdisciplinary analysis of the social practice of taste in the wake of Pierre Bourdieu¿s sociology of taste. For the first time, this book unites sociologists and other social scientists with artists and curators, art theorists and art educators, and art, design and cultural historians who engage with the practice of taste as it relates to encounters with art, cultural institutions and the practices of everyday life, in national and transnational contexts. The volume is divided into four (...) sections. The first section on ¿Taste and art¿, shows how art practice was drawn into the sphere of ¿good taste¿, contrasting this with a post-conceptualist critique that offers a challenge to the social functions of good taste through an encounter with art. The next section on ¿Taste making and the museum¿ examines the challenges and changing social, political and organisational dynamics propelling museums beyond the terms of a supposedly universal institution and language of taste. The third section of the book, ¿Taste after Bourdieu in Japan¿ offers a case study of the challenges to the cross-cultural transmission and local reproduction of ¿good taste¿, exemplified by the complex cultural context of Japan. The final section on ¿Taste, the home and everyday life¿ juxtaposes the analysis of the reproduction of inequality and alienation through taste, with arguments on how the legacy of ideas of ¿good taste¿ have extended the possibilities of experience and sharpened our consciousness of identity. As the first book to bring together arts practitioners and theorists with sociologists and other social scientists to examine the legacy and continuing validity of Pierre Bourdieu¿s sociology of taste, this publication engages with the opportunities and problems involved in understanding the social value and the cultural dispositions of taste ¿after Bourdieu¿. It does so at a moment when the practice of taste is being radically changed by the global expansion of cultural choices, and the emergence of deploying impersonal algorithms as solutions to cultural and creative decision-making. (shrink)