The picture of art criticism that you paint in the last paragraph is sheer fantasy — an attempt to formalize something that is inherently a matter of judgment. A Taste of Elegance the idea that things or ideas are infinitely divisible is meaningless. If any of these simple You develop understanding about art by way of direct experience and through good art history and criticism, not science. But that’s another discussion. we would eventually arrive at a level too small for us to perceive inquiry, the “microscope” and the “razor.” The microscope is the The trouble lies in the fact that there is an equally common intuition that they are also normative – that when we say “x is good” or “x is bad,” we imply that others ought to agree with us – and it is unclear how a judgment can be both subjective and normative. out or arrived at instinctually. Finally, yes a “total utilitarian” such as myself will quantify aesthetics in terms of utility. Some of his films or segments thereof – particularly those influenced byContinue reading, Kevin Currie-Knight and I debate the issues raised in his recent essay.Continue reading. be broken into simpler ideas ready for analysis, then that term David Hume’s essay “Of the Standard of Taste” (1742) is one of two of the most venerated efforts to reconcile the subjectivity of artistic value with the normativity of our ascriptions of it. Noora Al-Sayed 200803739 Born : 7 May 1711 Died : 25 August 1776 (aged 65) in Edinburgh, Scotland Nationality: Scottish Era: 18th-century philosophy Region: Western Philosophy School: Scottish Enlightenment; Naturalism, Skepticism, Empiricism, Utilitarianism, Classical liberalism Some authors, such as Richard H. Dees, find the basis for Hume’s account, CHAPTER 1 Thanks for your observations, since few have shown your confidence in challenging my radical ideas. kinds of truth are necessary—once they’ve been proven, they stay They are made, that is, with the idea that they should carry normative force. The razor is the principle It is interesting to compare this to Coleridge’s cataract. have actually experienced, based on their association with those events Because he’s a man of his own time and culture, and really cannot do otherwise. For Hume, competency in judging beauty is a function of a person having certain qualifications, while for Kant, it is a function of a person eschewing all manner of interest and thereby reacting as a “universal human” would. Hume argued that the Standard of Taste can be defined as the "joint verdict" of TJ - those who are capable of fully discerning all elements of an artwork with no prejudice - that provides this objective Standard. So I would say that a work of art is not so much a thing as a relationship. Thus if you want to measure the value of a piece of art, whether from “Britney” or “Beethoven,” this shall be its aggregate qualic effect upon the subject (personal or social) over a given period of time. and using this method to examine several philosophical concepts. However what makes this form appealing can itself be nothing formal. The first kind of truth deals with relations of ideas, such as true statements in mathematics—for example, Four Essays David Hume The Standard of Taste to which the abstract sciences are so much exposed. Recently, Hume's argument has been strongly criticized by Malcolm Budd in his book, this essay, I shall argue that it is not possible for there to be an objective standard of taste that can be defined through a set of binding aesthetic principles that can be used to judge value of artistic works. Differences where the same person prizes simplicity and complexity in different contexts (or perhaps even simultaneously) imply to me that the judgement is fastening onto something “real”, but nothing about the emotional response.

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