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Hume of the standard of taste summary
Hume of the standard of taste summary
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In Aesthetics, it is thought that in order to show that a work of art is truly great, it is required that an assessment of aesthetic value must be made (Graham, 2001). Therefore, it can be seen as important that such criteria of can be defined in order to make such an assessment. In 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. Rather, than an objective standard of taste can exist without aesthetic rules or principles. This shall be done by first examining Hume’s seminal work ‘Of the standard of taste’ (Hume, SOT).
Firstly Hume’s idea of ‘agreeableness’ of a work art shall be addressed, and how the idea of the test of time can result in unanimity of in aesthetic judgement as evidence that there can be an objective standard for aesthetic judgement. This shall be confirmed by examining Hume’s non-cognitivist account of aesthetic judgement proposing that no properties of objects can make them viable candidates for aesthetic evaluation, only the immediate and spontaneous reactions that they can evoke from us can. After this has been established it will then be shown that due to the shared nature of the human species, such aesthetic sentiments can display reasonable uniformity. Although it will have already been established that a uniformity of taste exists, it will be discussed how aesthetic sentiments can be improved by a sound understanding of what is being appreciated, as it is possible for some aesthetic judgments to be better than others, through aesthetic judgment of individuals that Hume regards as being good critics, who have well-tuned aesthetic sensibilit...
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The abbreviations and texts cited above are as follows:
[T] A Treatise of Human Nature, edited by L. A. Selby-Bigge, 2nd ed. revised by P.H. Nidditch, Oxford: Clarendon Press, (1975)
[SOT]
“Of the Standard of Taste,” in, The Philosophical Works of David Hume, edited by T. H. Green and T. H. Grose. 4 volumes, London: Longman, Green, 1874-75. [Page references above to individual essays are to volume 3 of this edition.]
Web Articles used
Zangwill, Nick, "Aesthetic Judgment", The Stanford Encyclopedia of Philosophy (Winter 2006 Edition), Edward N. Zalta (ed.), URL = .
Gracyk, Ted, "Hume's Aesthetics", The Stanford Encyclopedia of Philosophy (Winter 2006 Edition), Edward N. Zalta (ed.), forthcoming URL = .
Mitchell, Helen Buss. "Aesthetic Experience." Roots of Wisdom: A Tapestry of Philosophical Traditions. 6th ed. Boston: Wadsworth, 2011. 303-24. Print.
ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed. Also, if we concur with Danto¡¦s claims that "contemporary art no longer allows itself to be represented by master narratives," that Nothing is ruled out.", then it is indeed fruitful to understand art in terms of seeing-as. For application of this concept to art explains what occurs conceptually when the viewer shifts from identifying a work, as an art object, and then as not an art object, and explains why nothing is ruled out.
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.
Bourdieu, Pierre. Distinction- A Social Critique of the Judgement of Taste(Cambridge: Harvard University Press, 1984)
In this article Winckelmann states that the good taste in art that is present in contemporary works stems from the work of the ancient Greeks. The beauty in the modern works of artists like Raphael (especially his Madonna and child with St Sixtus and St Barbara) hold such beauty, complexity of emotion, and good taste because he draws on the ideas set up by the great ancient sculptures and society in which they lived and drew inspiration from. Winckelmann categorizes the ancients greatness into two main ideas that are necessary for contemporaries to draw from in order to reach greatness: Natural beauty and noble simplicity and quiet grandeur.
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.
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.
Abel, Donald C., ed. Theories of Human Nature: Classical and Contemporary Readings. New York: McGraw-Hill, 1992.
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).
Goldblatt, and Brown. Aesthetics: A Reader in Philosophy of the Arts, Upper Saddle Ridge, NJ: Prentice Hall, 1997.
Philosophies of Art and Beauty Edited by Hofstadter and Kuhns, (Chicago: University of Chicago press, 1976) chapters one and two for an overview of the aesthetics of Plato and Aristotle.
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.
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.
As literary critics, Plato and Aristotle disagree profoundly about the value of art in human society. Plato attempts to strip artists of the power and prominence they enjoy in his society, while Aristotle tries to develop a method of inquiry to determine the merits of an individual work of art. It is interesting to note that these two disparate notions of art are based upon the same fundamental assumption: that art is a form of mimesis, imitation. Both philosophers are concerned with the artist's ability to have significant impact on others. It is the imitative function of art which promotes disdain in Plato and curiosity in Aristotle. Examining the reality that art professes to imitate, the process of imitation, and the inherent strengths and weaknesses of imitation as a form of artistic expression may lead to understanding how these conflicting views of art could develop from a seemingly similar premise.