British Journal of Aesthetics 51 (2):213-222 (2011)

Authors
James Shelley
Auburn University
Abstract
Hume is plausibly interpreted as asserting that an artwork is beautiful if and only if it pleases ideal critics. Jerrold Levinson maintains that Hume's commitment to this biconditional gives rise to a problem that occurs neither to Hume nor to his any of his interpreters—the problem of explaining why you should care what pleases ideal critics if you are not one yourself. I argue that this problem arises only if you hold an empiricist theory of aesthetic value—that is, a theory that reduces the aesthetic value of a work to the value of the experience it affords—as Levinson does. I argue that Levinson's own attempted solution to the problem cannot succeed. And I argue that the problem never arises for Hume because his commitment to the biconditional is not a commitment to an empiricist theory of aesthetic value, but to an empiricist theory of aesthetic evaluation
Keywords Hume
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DOI 10.1093/aesthj/ayr007
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Aesthetic Hedonism and Its Critics.Servaas Van der Berg - 2020 - Philosophy Compass 15 (1):e12645.
On Liking Aesthetic Value.Keren Gorodeisky - 2021 - Philosophy and Phenomenological Research 102 (2):261-280.
The Default Theory of Aesthetic Value.James Shelley - 2019 - British Journal of Aesthetics 59 (1):1-12.
The Authority of Pleasure.Keren Gorodeisky - 2019 - Noûs 55 (1):199-220.
Aesthetic Practices and Normativity.Robbie Kubala - 2021 - Philosophy and Phenomenological Research 103 (2):408-425.

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