Even if in the art-related cases, some of those are deployed in metaphors, our understanding of their use here is deeply related to their ordinary uses. When the question of design is raised, it becomes increasingly difficult to suppose that an aesthetic judgment about an object is entirely divorced from other considerations—an issue that is perhaps most acute in the case of architecture.
Cambridge University Press, Thus, for Sibley, "beautiful," "elegant," "graceful," and other terms indicated mainly by example are all aesthetic terms, and as such they all refer to objective properties, although only judges exercising what Sibley calls "taste" can detect these properties and hence correctly apply the terms.
The idea that aesthetic judgment requires a detached state of mind has sometimes been developed as the idea that aesthetic judgments require an aesthetic attitude, a distinct mode of addressing objects. Approach to Aesthetics "Aesthetic Concepts" leads off the collection.
In such a case it seems that an object might be judged to have aesthetic value but also to be negatively judged, say ethically or in terms of its practical use. He thought that it is one thing to judge a watch, say, to be a good watch because of its perspicuous time display and reliable time keeping, this being to judge the watch in terms relying on the concept of a watch; it is another thing to offer a pure judgment of taste.
Hume does not use the term "aesthetic," and he speaks only of the exercise of taste in the discernment of beauty, but like Kant he takes it for granted that all judgments of beauty arise from feelings of pleasure experienced by the judge.
A corollary question is whether the negative value of a nonaesthetic judgment should affect the allegedly purely aesthetic judgment.
Unquestionably, Frank Sibley should be counted among those who helped return aesthetics to intellectual health and respectability as a proper field for philosophical investigation. But then, what stops any one of us from seeing that a painting is imbalanced or lurid?
The World as Will and Representation. Answering this question seems particularly urgent when an aesthetic judgment and a nonaesthetic judgment about the same object are incongruent.
In Kant and many of his followers, the idea of the aesthetic is basic, and the idea of art is, so to speak, constructed out of the idea of the aesthetic. A later, more sophisticated treatment is to be found in the works of Jerome Stolnitz You are not currently authenticated.
Others have wondered whether it is possible to make such a clear logical separation. Yet Kant probably did know the earlier work of Francis Hutchesonwork in the spirit of Hume even if less compelling philosophically.
Hume believed that it is possible to identify certain judges as having especially reliable taste and then to take their subjective responses to objects as a standard in evaluating the objects.
It is less clear that that a poorly performing object can still be beautiful.
The idea of something explicitly called an aesthetic judgment seems first to have appeared in the eighteenth century and was formulated in detail by Kant Sibley, in contrast, insists that the term refers to a property of the object being judged.
Sibley describes the several ways in which the critic "gets his audience to see what he sees" p. Those who believe aesthetic judgments to be a unique kind of judgment have been eager to distinguish aesthetic judgments from ethical judgments, in particular, and also from practical concerns.
To other authors, this is not obvious, because for them, questions of utility are difficult to separate from questions of the aesthetic value of an object.
For Wollheim, to regard an object aesthetically is to regard it as a work of art. The subjective character of judgments of beauty seemed obvious in the eighteenth century, especially to Hume and Kant, so obvious that neither of them argued for this notion but simply assumed it.
In philosophy at the beginning of the twenty-first century, the term "aesthetics" has become a virtual synonym for "philosophy of art. Bibliography Brady, Emily, and Jerrold Levinson, eds.
The claim is strict, and in the tradition which says that nothing can substitute for individual, spontaneous contact with an artwork to judge its aesthetic qualities; no application of principles will suffice. Lectures and Essays Stanford, CA: The two books under review in a sense are long overdue.
By "aesthetic judgment" Kant meant a judgment based on a feeling.Aesthetic Concepts: Essays after Sibley. (), who developed a distinctive aesthetic theory through a number of papers published between and Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in.
Read "Aesthetic Concepts: Essays After Sibley, Mind" on DeepDyve, the largest online rental service for scholarly research with thousands of academic publications available at your fingertips. Clarendon has published Aesthetic Concepts: Essays After Sibley as a companion to the collection of Sibley's work.
It, too, is a valuable contribution, and evidence of Sibley's agenda-setting influence on subsequent work in aesthetics. Sibley takes aesthetic judgments to be judgments that apply aesthetic concepts to objects through the use of aesthetic terms.
Rather than understand taste as Hume and Kant did, as the ability to take pleasure in the judgment of objects, Sibley takes taste to be the ability to use aesthetic terms and concepts. Get this from a library! Aesthetic concepts: essays after Sibley.
[Emily Brady; Jerrold Levinson;] -- This text is an exploration of key topics in contemporary aesthetics that arise from the seminal work of Frank Sibley. He developed a distinctive aesthetic theory through a number of papers published.
Read "Aesthetic Concepts: Essays After Sibley, The British Journal of Aesthetics" on DeepDyve, the largest online rental service for scholarly research with thousands of .Download