In this paper I argue against one variety of contextualism about aesthetic predicates such as “beautiful.” Contextualist analyses of these and other predicates have been subject to several challenges surrounding disagreement. Focusing on one kind of contextualism— individualized indexical contextualism —I unpack these various challenges and consider the responses available to the contextualist. The three responses I consider are as follows: giving an alternative analysis of the concept of disagreement; claiming that speakers suffer from semantic blindness; and claiming that attributions (...) of beauty carry presuppositions of commonality. I will argue that none of the available strategies gives a response which both (a) satisfactorily explains all of the disagreement-data and (b) is plausible independent of significant evidence in favor of contextualism. I conclude that individualized indexical contextualism about the aesthetic is untenable, although this does not rule out alternative contextualist approaches to the aesthetic. (shrink)

James Shelley claims that Hume's principles of taste have value-neutral subjects rather than value-laden ones that, for example, refer to aesthetic properties. I try to rebut his claim. I argue that Hume's essay on taste contains the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties in artworks, even if he does not explicitly make this point. I also deny Shelley's contention that I claim that principles are used as part of a temporal process (...) to infer evaluational conclusions. Against Shelly's attack, I defend my use of the isolation clause in formulating evaluational principles. Finally, I show a way to formulate evaluational principles without the isolation clause by substituting an interaction clause. (shrink)

The Century of Taste offers an exposition and critical account of the central figures in the early development of the modern philosophy of art. Dickie traces the modern theory of taste from its first formulation by Francis Hutcheson, to blind alleys followed by Alexander Gerard and Archibald Allison, its refinement and complete expression by Hume, and finally to its decline in the hands of Kant. In a clear and straightforward style, Dickie offers sympathetic discussions of the theoretical aims of these (...) philosophers, but does not shy from controversy--pointing out, for instance, the obscurities and inconsistencies in Kant's aesthetic writings, and arguing that they have been overrated. (shrink)

We know we have thoughts, but are we aware that we have styles of thought? This book, written by one of the most gifted and celebrated social thinkers of our time, is a contribution to understanding the rules of the different styles of thinking. Author Mary Douglas takes us through a range of thought styles from the vulgar to the refined. Throughout this fascinating journey, Thought Styles shows us how the different styles work and how outsiders can learn the styles (...) of insiders. The discussion ranges from the style of folklore to the styles of therapy, shopping, religion, and animal rights. The result is a book full of insight. Readers will find themselves thinking in new ways about the mechanics of communication in everyday life. Professionals and researchers in sociology, communication, and anthropology will especially appreciate this auspicious new book. (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)

Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most (...) expansive statement of his views on taste and quality in art, arguing for an esthetic that flies in the face of current art world fashions. Greenberg insists despite the attempts from Marcel Duchamp onwards to escape the jurisdiction of taste by producing an art so disjunctive that it cannot be judged that taste is inexorable. He argues that standards of quality in art, the artist's responsibility to seek out the hardest demands of a medium, and the critic's responsibility to discriminate, are essential conditions for great art. The obsession with innovation the epidemic of newness leads, in Greenbergs view, to the boringness of so much avant garde art. He discusses the interplay of expectation and surprise in aesthetic experience, and the exalted consciousness produced by great art. Homemade Esthetics allows us particularly in the transcribed seminar sessions, never before published to watch the critics mind at work, defending (and at times reconsidering) his theories. His views, often controversial, are the record of a lifetime of looking at and thinking about art as intensely as anyone ever has. (shrink)

, Stephanie Ross argues that four of Hume's five criteria for qualified critics in "Of the Standard of Taste’, namely practise, comparison, freedom from prejudice, and good sense, should be understood as conditions for improving the basic constituent of taste, namely delicacy of perception, in real critics whose judgments can be canonical or guiding for the rest of us, but that delicacy of perception needs to be supplemented by what she calls imaginative fluency and emotional responsiveness to provide a fuller (...) conception of the basic constituents of taste. I support Ross's approach by showing that Hume's immediate successors in Scottish aesthetics Alexander Gerard and James Beattie understood his conception of the qualifications of good critics and supplemented his conception of the basic constituents of taste in precisely the same way that Ross does. CiteULike Connotea Del.icio.us What's this? (shrink)

DISSERTATION T. The Natural History of Religion. INTRODUCTION. AS every enquiry, which regards Religion, is of the utmost importance, there are two ...

During the last few decades, most cultural critics have come to agree that the division between "high" and "low" art is an artificial one, that Beethoven's Ninth and "Blue Suede Shoes" are equally valuable as cultural texts. In Who Needs Classical Music?, Julian Johnson challenges these assumptions about the relativism of cultural judgements. The author maintains that music is more than just "a matter of taste": while some music provides entertainment, or serves as background noise, other music claims to function (...) as art. This book considers the value of classical music in contemporary society, arguing that it remains distinctive because it works in quite different ways to most of the other music that surrounds us. This intellectually sophisticated yet accessible book offers a new and balanced defense of the specific values of classical music in contemporary culture. Who Needs Classical Music? will stimulate readers to reflect on their own investment (or lack of it) in music and art of all kinds. (shrink)

On 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. CiteULike Connotea Del.icio.us What's this? (shrink)

Apparently snobbery undermines justification for and legitimacy of aesthetic claims. It is also pervasive in the aesthetic realm, much more so than we tend to presume. If these two claims are combined, a fundamental problem arises: we do not know whether or not we are justified in believing or making aesthetic claims. Addressing this new challenge requires an epistemological story which underpins when, where and why snobbish judgement is problematic, and how appreciative claims can survive. This leads towards a virtue-theoretic (...) account of art appreciation and aesthetic justification, as contrasted with a purely reliabilist one – a new direction for contemporary aesthetics. (shrink)

Why does art matter to us, and what makes good art? Why is the role of imagination so important in art? Illustrated with carefully chosen color and black-and-white plates of examples from Michelangelo to Matisse and Poussin to Jackson Pollock, Revealing Art explores some of the most important questions we can ask about art. Matthew Kieran clearly but forcefully asks how art inspires us and disgusts us and whether artistic judgment is simply a matter of taste, and if art can (...) be immoral or obscene, should it be censored? He brings such abstract issues to life with fascinating discussions of individual paintings, photographs and sculptures, such as Michelangelo's Pietà, Andres Serrano's Piss Christ and Jackson Pollock's Summertime. He also suggests some answers to problems that any one in an art gallery or museum is likely to ask themselves: what is a beautiful work of art, and can art really reveal something true about our own nature? Revealing Art is ideal for anyone interested in debates about art today, or who has simply stood in front of a painting and felt baffled. (shrink)

If good taste is a virtue, then an account of good taste might be modelled on existing accounts of moral or epistemic virtue. One good reason to develop such an account is that it helps solve otherwise intractable problems in aesthetics. This paper proposes an alternative to neo-Aristotelian models of good taste. It then contrasts the neo-Aristotelian models with the proposed model, assessing them for their potential to contend with otherwise intractable problems in aesthetics.

The essay introduces the problem of aesthetic unreliability, the variety of ways in which it is difficult to grasp our aesthetic experience and the consequent confusion and unreliability of what we take as our taste.

The theory of taste faces a neglected epistemological problem. The cultivation of taste is functionally dependent upon self-knowledge of aesthetic satisfaction and its causes, in other words, knowing what we like and why. However, reservations about the reliability of our knowledge of our responses, commonplace in social psychology and the philosophy of mind, pose serious obstacles to the theory of taste. I argue for a weak fallibilism with respect to introspective beliefs about aesthetic experience. I call for a naturalistic approach (...) to the theory of taste that accounts for the unreliability of aesthetic self-knowledge. (shrink)

A critical notice of Alexander Nehamas's Only a Promise of Happiness: The Place of Beauty in a World of Art.

In 'Of the Standard of Taste' Hume aspires to silence the 'extravagant' cavils of the anything-goes de gustibus sceptic by developing a programme of aesthetic education that would lead all properly-trained individuals to a set of agreed-upon aesthetic judgements. But I argue that if we read Hume's essay as an attempted direct theoretical refutation of de gustibus scepticism, Hume fails to achieve his aim. Moreover, although some recent commentators have read the essay as aiming at a less ambitious ‘sceptical solution’ (...) to the de gustibus challenge, I argue that this ‘sceptical solution’ reading also fails to save Hume's project. Thus the anything-goes de gustibus sceptic remains unvanquished. (shrink)

Can there be a philosophy of taste? This paper opens by raising some metaphilosophical questions about the study of taste – what it consists of and what method we should adopt in pursuing it. It is suggested that the best starting point for philosophising about taste is against the background of 18th-century epistemology and philosophy of mind, and the conceptual tools this new philosophical paradigm entails. The notion of aesthetic taste in particular, which emerges from a growing sense of dissatisfaction (...) with an undifferentiated category of taste, comes to be set apart from gustatory taste on account of its normativity and aspirations to objectivity. The paradox of taste, as found in Hume and Kant, is examined, and shown to be highly relevant to contemporary metaphysical debate within aesthetics. Specifically, this paper argues that both Realists and Anti-Realists rely more heavily than assumed on the idea of taste. (shrink)

Robert Sharpe examines the humanist conception of music as a language--as expressive and intelligible--which has been a dominant theory in Western culture. He argues against the view that music is expressive by causing certain states in us. Rather, he contends that our beliefs about music are integral to our appreciation of it. Differences in musical taste are then not just irresolvable differences in sensitivity, but the result of variations in circumstance and upbringing, of associations and ideology.

George Dickie argues that Hume's principles of taste have value-laden properties as their subjects, including those properties we now refer to as ‘aesthetic’. I counter that Hume's principles have value-neutral properties as their subjects, and so exclude those properties we now refer to as ‘aesthetic’. Dickie also argues that Hume's essay on taste provides ‘the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties of artworks’. I counter that the very passages Dickie takes to (...) provide these conceptual means in fact suggest that Hume recognizes no such problem. (shrink)

Bourdieu's theory of aesthetic taste shares with social identity theory the concepts of reciprocal comparison and differentiation among social groups. This study used discourse analysis of interviews with further-education students on the topic of aesthetic taste to test the hypothesis, derived from these theories, that individuals always present their tastes in line with social differentiations. Since these students were moving from working-class to middle-class identities via education, it was expected that their discourse would be rich in the inconsistencies which (...) need discourse analysis. Most respondents denied links between social class and aesthetic taste, but produced inconsistent “individualist” and “socialisation” repertoires. The individualist repertoire gave priority to individual choice in looking forward to a middle-class identity, while the socialisation repertoire favoured egalitarianism in looking backward to working-class origins and tastes. This inconsistency was resolved in one of two ways, “reconstrue society”, or “reconstrue self”. The “reconstrue society” resolution had three versions: progressivism (assertion of rapid disappearance of classes); reduction of class to resistible peer pressure; and subdivision of the working class into non-cultured and cultured segments, identifying the self with the latter. “Reconstrue self presented the self as overriding socialisation forces, but split identity between a social outer appearance and a private inner self. (shrink)

I argue for the possibility of substantive aesthetic disagreements in which both parties speak truly. The possibility of such disputes undermines an argument mobilized by relativists such as Lasersohn (Linguist Philos 28:643–686, 2005) and MacFarlane (Philos Stud 132:17–31, 2007) against contextualism about aesthetic terminology. In describing the facts of aesthetic disagreement, I distinguish between the intuition of dispute on the one hand and the felicity of denial on the other. Considered separately, neither of those phenomena requires that there be a (...) single proposition asserted by one party to an aesthetic dispute and denied by the other. I suggest instead that many such disputes be analyzed as disputes over the selection or appropriateness of a contextually salient aesthetic standard. (shrink)

Hume's Aesthetic Theory examines the neglected area of the development of aesthetics in empiricist thinking, exploring the link between the empiricist background of aesthetics in the eighteenth century and the work of David Hume.

Musing in Florence in June of 1858, Nathaniel Hawthorne said of himself, "I am sensible that a process is going on--and has been, ever since I came to Italy--that puts me in a state to see pictures with less toil, and more pleasure, and makes me more fastidious, yet more sensible of beauty where I saw none before." This is a book devoted to the reflective analysis of the enterprise in which many of us, like Hawthorne, find ourselves engaged: the (...) cultivation of our taste. Charles Wegener writes for and from the standpoint of thoughtful amateurs, those who, loving the beautiful and the sublime, wish to become more fully the sort of person to whom these goods reliably disclose themselves. Here traditional aesthetic analysis is redirected to a search for the norms that tell us how we use our intelligence, our imagination, and our senses in becoming "more fastidious, yet more sensible," exploring such concepts as disinterestedness, catholicity, communicability, austerity, objectivity, and authority. Finally, Wegener discusses questions about the relation of our aesthetic lives to other activities, norms, and human goods, arguing that taste, far from being a mere grace or luxury, is a necessary expression of that freedom which is at once the fruit and the condition of all culture. "This book should be required reading for anyone concerned with aesthetic education, for this is exactly what it is about, and I have come across no more searching investigation of the topic."--Hugo Meynell, Journal of Aesthetic Education "Using the analysis of aesthetic experience found in Kant's Critique of Judgment as a point of departure, Wegener has written a remarkably intelligent book which presents meaningful encounter with art as the "discipline of taste and feeling. The book reads not simply as an exposition but as a conversation in which the author thoughtfully and meticulously explores with the reader those norms that structure and define aesthetic experience. . . . The book occupies an important place in contemporary aesthetic discussion."--M. Feder-Marcus, Choice. (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)