In his essay ‘Of the Standard of Taste,’ Hume argues that artworks with morally flawed outlooks are, to some extent, aesthetically flawed. While Hume's remarks regarding the relationship between art and morality have influenced contemporary aestheticians, Hume's own position has struck many people as incoherent. For Hume appears to entangle himself in two separate contradictions. First, Hume seems to claim both that true judges should not enter into vicious sentiments and that true judges should adopt the standpoint of an artwork's (...) intended audience. But The Iliad, say, was obviously intended for an audience that shared Homer's flawed moral outlook. Second, Hume appears to claim that our moral sentiments are both highly resistant to change and extremely fragile. This essay defends Hume against these two objections by drawing increased attention to the role that Hume's aesthetics assigns to the faculty of good sense or sound reason. (shrink)

I develop resources from Hume to account for moral knowledge in the qualified sense developed by Bernard Williams, according to which the proper application of thick ethical terms constitutes moral knowledge. By applying to moral discernment the criteria of the good aesthetic critic, as explained in Hume's “ Of the Standard of Taste ”, we can see how Humean moral knowledge might be possible. For each of these criteria, an analogous trait would contribute to moral discernment. These traits would enable (...) moral judges to distinguish valid from invalid uses of thick moral terms. The deliverances of such judgments constitute mitigated moral knowledge, as opposed to knowledge in the stricter sense that Hume clearly says cannot be had of moral distinctions. This account has the potential to explain how moral judgments may be valid or invalid without appealing to unique operations of the understanding and how moral knowledge might escape the threat, identified by Williams, of reflective destruction. (shrink)

In his essay ‘Of the Standard of Taste’, Hume identifies two standards of taste: the general rules of art and the joint verdict of true judges. From this the following questions arise: Why did Hume present two standards? And, how should we understand the relation between them? We must first get a firmer grasp on each of the standards that Hume presents. Hence, this paper has two main goals. The first is to understand the general rules of art in the (...) light of Hume’s philosophical method, which is consonant with Newtonian methods of analysis and synthesis. The second is to provide a new interpretation of what Hume takes to be the joint verdict of true judges. In my interpretation, the joint verdict of true judges constitutes the standard of taste, not because their verdicts converge, but because their verdicts encompass blameless differences. With this new foundation for understanding the two standards, I will present my own reading of the relation between them. (shrink)

Summary Humans know when they themselves experience beauty, even though the term itself has been difficult to define adequately for a variety of reasons. Given this centuries’ old failure to give an adequate definition of beauty, perhaps the time has come to enquire whether the experience of beauty, regardless of its source, can be defined in neural terms.