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David hume ideas and impressions
David hume ideas and impressions
David hume refinment of arts
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David Hume’s essay “Of the Standard of Taste” addresses the problem of how objects are judged. Hume addresses three assumptions about how aesthetic value is determined. These assumptions are: all tastes are equal, some art is better than others, and aesthetic value of art is defined by a person’s taste(from lecture). However, Hume finds the three beliefs to be an “inconsistent triad”(from lecture) of assumptions. If all taste is equal but taste defines the aesthetic value, how can it be that some art is good and others bad? Wouldn’t all art be equal if all taste is equal? Hume does not believe all objects are equal in their beauty or greatness. He states that some art is meant to endure, “the beauties, which are naturally fitted to excite agreeable sentiment, immediately display their energy”.(text pg 259) So how will society discern what is agreeable and what is not? Hume proposes a set of true judges whose palates are so refined they can precisely define the aesthetic value of something. “The great variety of Taste, as well as of opinion, which prevails in the world, is too obvious not to have fallen under every one’s observation”(text pg 255), Hume states in his opening. He then points out, “Every voice is united in applauding,”(text pg 255) all kinds of values like “elegance” and “simplicity” that are supposedly seen in an object. Hume is conveying the idea that every person has their own unique tastes in art and they all seem to agree on the aesthetic value of an object. He then brings in the critic who analyzes the pieces of the object and proposes that all previous judgments were not accurate. Hume says, “But when the critic comes to particulars, this seeming unanimity vanishes”(text pg 255). The job of t... ... middle of paper ... ... and perverts all operations of the intellectual faculty.”(text pg 263) Hume states the only way for a judge to keep his prejudice in check is to also have good sense, “It belongs to good sense to check its(prejudice) influence”(text pg 263) In this essay Hume creates the true judges who are required to have: delicacy of taste, practice in a specific art of taste, be free from prejudice in their determinations, and good sense to guide their judgments. In Hume’s view the judges allow for reasonable critiques of objects. Hume also pointed out that taste is not merely an opinion but has some physical quality which can be proved. So taste is not a sentiment but a determination. What was inconsistent in the triad of commonly held belief was that all taste is equal and so Hume replaced the faulty assumption with the true judges who can guide society’s sentiments.
In Gaut’s essay, “The Ethical Criticism of Art”, he addresses the relevance of an art piece’s ethical value when making an aesthetic evaluation. His key argument revolves around the attitudes that works of art manifest such that he presents the following summary “If a work manifests ethically reprehensible attitudes, it is to that extent aesthetically defective, and if a work manifests ethically commendable attitudes, it is to that extent aesthetically meritorious”. In direct contrast with formalists, who divine a work’s merit through an assessment of its style and compositional aspects, Gaut states that any art piece’s value requires a pro tanto judgement. This pro tanto position allows for pieces considered stylistic masterpieces, to be
In this essay, I will argue that Hume’s response to the “missing shade of blue” example is satisfactory. Firstly, I shall explain Hume’s account of the relationship between impressions and ideas and the copy principle. I shall then examine the “missing shade of blue” and its relation to this account. I shall then explore Hume’s response to his own counter-example and evaluate his position by considering possible objections and responses to his view. I shall then show why Hume’s response to the “missing shade of blue” example is satisfactory.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Mill, in response to objections about pleasure, claims that there are some pleasures that are better than others. He states that the life of a reasoning, thinking person is superior to a human, rather than just the appetite of an animal.(513) In supporting this claim, he mentions how those who support a similar view have written before that the pleasures of the mind are superior than the body.(513) To support this idea, Mill mentions the idea of competent judges. For someone to be a competent judge be...
Before Hume can begin to explain what morality is, he lays down a foundation of logic to build on by clarifying what he thinks the mind is. Hume states that the facts the mind sees are just the perceptions we have of things around us, such as color, sound, and heat (Hume, 215). These perceptions can be divided into the two categories of ideas and impressions (215). Both of these categories rely on reason to identify and explain what is observed and inferred. However, neither one of these sufficiently explains morality, for to Hume, morals “. . .excite passions, and produce or prevent actions” (216)....
Something must be desirable on its own account, and because of its immediate accord or agreement with human sentiment and affection” (87). In conclusion, I believe that Hume thinks that reason, while not completely useless, is not the driving force of moral motivation. Reasons are a means to sentiments, which in turn are a means to morality, but without reasons there can still be sentiments. There can still be beauty. Reasons can not lie as the foundation of morality, because they can only be true or false.
Hume uses senses, like Descartes, to find the truth in life. By using the senses he states that all contents of the mind come from experience. This leads to the mind having an unbound potential since all the contents are lead by experiences. The mind is made up two parts impressions and ideas. Impressions are the immediate data of the experience. For example, when someone drops a book on the desk and you hear a loud sound. The sight of the book dropping and hitting the desk is registered by an individual’s senses- sight, sound, feeling. Hume believes there are two types of impressions, original and secondary impressions. Original impressions are based on the senses,
Hume’s account of justice can be perceived as initially complex but when evaluated in a contextual manner, the ideas appear to be less dynamic. The idea of right or wrong merits is originally introduced in Book III of his A Treatise of Human Nature, where he questions why certain actions in a general society produce a satisfaction or a given uneasiness. [1] This idea provides the reader with an initial thought onto the dynamics of the later sections to come. From this, Hume accounts for the first stage in his argument where he states in Section III, Part I of An Enquiry Concerning the Principles of Morals that the sole foundation of justice is public utility. In the same section, Hume states that “reflections on the beneficial consequences of this virtue are the sole foundation of its merit.” [2] He continues to provide a clear example, where society is provided fully with any amount of “external conveniences” or possessions they envision. In a society where all that inhabit it have any essentials they could possibly desire, there would be no need for justice primarily because humans would not have a need to share their...
He argued that past art demanded thought and understanding, whereas advertising and celebrity culture demanded only immediate attention, very quickly becoming uninteresting and boring(). Art should stimulate more the viewer than just visually. Art that has substance behind it I tend to remember more or think about more. This piece is innovative, it brings about ideas with it that hadn’t been discovered in our society. I can see how the audience at first glance could consider this not to be art. I probably would’ve agreed, but learning about it I know that every time I see the repeated images of the soup cans I now think twice. I consider good art to be art that is able to stimulating the mind visually, by bringing about new
Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008).
Aestheticism was a popular dogma in the late 1800s that centered on the belief that art should exist for beauty alone. This doctrine is defined as an “exaggerated devotion to art, music, or poetry, with indifference to practical matters” and “the acceptance of artistic beauty and taste as a fundamental standard, ethical and other standards being secondary” (“Aestheticism,” def. 1 and 2. In Oscar Wilde’s sole novel, The Picture of Dorian Gray, aestheticism was a fashionable belief accepted by society at the time. Oscar Wilde uses the moral deterioration and ultimate destruction of Dorian Gray in The Picture of Dorian Gray to emphasize the negative effects of society’s preoccupation with aesthetics and offer a moral for the reader. In this novel, Oscar Wilde displays Dorian’s moral corrosion negatively in order to convince his audience of the detrimental effects of aestheticism.
Like John Locke, Hume believed that at birth people were a blank slate in terms of mental perception but his perspective was that humans do have one advantage: reason. Hume believed that everyone has the ability to reason with the natural order of the world and that it is this ability that separates us from other animals. However, Hume argues “against the rationalists that, although reason is needed to discover the facts of any concrete situation and the general social impact of a trait of character or a practice over time, reason alone is insufficient to yield a judgment that something is virtuous or vicious” (Hume’s Moral Philosophy). It is this distinction that separates him from some of his compatriots in terms of what he considers to be the drive of the whole of
For over two thousand years, various philosophers have questioned the influence of art in our society. They have used abstract reasoning, human emotions, and logic to go beyond this world in the search for answers about arts' existence. For philosophers, art was not viewed for its own beauty, but rather for the question of how art and artists can help make our society more stable for the next generation. Plato, a Greek philosopher who lived during 420-348 B.C. in Athens, and Aristotle, Plato’s student who argued against his beliefs, have no exceptions to the steps they had to take in order to understand the purpose of art and artists. Though these two philosophers made marvelous discoveries about the existence of art, artists, and aesthetic experience, Plato has made his works more controversial than Aristotle.
David Hume, following this line of thinking, begins by distinguishing the contents of human experience (which is ultimately reducible to perceptions) into: a) impressions and b) ideas.