Aesthetic Qualities
It is generally, although not universally, agreed among philosophers that there is an important distinction to be drawn between the aesthetic qualities of objects, especially art objects, and their nonaesthetic qualities: between being serene, stunning, or grating, and being square, in the key of A-minor, or weighing seven pounds. The concept of an aesthetic quality is a philosophical one, not in general use, but aestheticians appeal to it in clarifying the practice of art criticism, justifying aesthetic judgments, and evaluating artworks.
Historical Background
Both David Hume (1963) and Immanuel Kant (1966) set the stage for this modern distinction in their discussions of aesthetic judgments, judgments regarding the beauty of objects. Both argued that such judgments differ in kind from judgments regarding ordinary perceptual properties. Both held that aesthetic judgments depend on subjective feelings of pleasure and affective responses, but both also sought a universal ground for such judgments. Unlike Francis Hutcheson (1971) before them, they did not find this ground in an objective property (for Hutcheson, unity in variety) that always gives rise to this pleasurable response in qualified observers. Instead, recognizing the normative force of ascriptions of beauty, the demand for agreement in one's ascriptions of this property, they sought a standard in universal subjective grounds of the judgments of qualified critics.
This is a free page. This page contains 201 words. This
article contains 2,843 words (approx. 9 pages at 300
words per page).
Read the rest of this Article with our Aesthetic Qualities Access Pass.
