This article identifies three distinct temporal notions in Hume’s aesthetics: passing the test of time, repeated viewing of a work, and the personal aging of the critic. It applies these ideas to the evaluation and enjoyment of films. It characterizes positive, negative, and ambivalent film aging, which are associated with nostalgia, boredom, and comic amusement, respectively, and which bear on our enjoyment, not evaluation, of film. The paper discusses Allen’s Zelig, Antonioni’s La Notte, Cameron’s The Terminator, Lucas’s Star Wars, Scorsese’s (...) Taxi Driver, Spielberg’s E.T.: The Extra-Terrestrial, and Renoir’s La Règle du Jeu. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.4 (2006) 39-50 MuseSearchJournalsThis JournalContents[Access article in PDF]The Acquisitive AttitudeDavid E. W. FennerAt my university, a small regional university in the south, I teach many "general education" courses in philosophy. The majority of freshmen and sophomores who populate these courses have never seen a dance performance, an opera, a symphony, or a stage play. Many have never been to an art gallery. At this (...) small university we have an active gallery; 1 besides the student and faculty shows each year, we can count on at least a half dozen other exhibitions, either single-artist shows or thematic compilations. Except when prepping for an upcoming show, the gallery is never closed. This means there are ample occasions for me to take my general education students for a visit to the gallery. In preparing them for our little field trip, I try to find a balance between two things. On the one hand, I want to leave the occasion open-ended to promote whatever sorts of personal experiences they may have in connection with viewing the artworks; the idea that they may come out of the gallery thinking this was yet one more meaningless academic exercise they had to endure makes me physically ill (so great is my passion for this opportunity to introduce them to their first art gallery experience). On the other hand, without any structure, many students will walk through the space at a brisk pace and exit quickly. This again would be a serious failure. Therefore, I give them an assignment for their visit, one that is meant to spotlight their potential enjoyment of the gallery while at the same time engaging them critically. The assignment is simple: "choose your favorite piece and be prepared to give some reasons for why this piece is better than the rest; and choose your least favorite piece and be prepared to offer some reasons for why this piece is worse than the rest." The reasons that I get back, in support of both of their judgments, frequently turn on traditional things like the representational quality of the (mimetic) work, the emotional content—either expressed or inspired—and formal considerations like balance and elegance. The conflation between identifying artistic [End Page 39] merit and their own, perhaps fairly naive, reactions is something I do not worry about at this level. This conflation may be warranted in certain theories of artistic worth—and it is something I am sympathetic to—but the real point is to encourage in the students a connection between enjoyment of the experience of viewing art and viewing it with a critical eye. If I can introduce just that one concept, the field trip has been a success. I can build on that later.I take a "critical thinking" approach to art criticism. I believe that the evaluative aspects of art criticism essentially have to do with advancing claims for which arguments and evidence can be offered. If critical thinking means seeking out and being able to advance reasons for the adoption or holding of a position, and this requires the logical skills involved with correct argument formulation and the epistemic skills involved with quality evidence gathering, then art criticism is essentially critical thinking applied to a certain content: art. Art evaluation happens in two arenas. First, there are issues of context and issues of subjectivity (Where did this work come from? Who did it? How does this work relate to other works and other times? How does this work connect to values other than purely aesthetic—or, better, artistic—ones, such as moral ones?). The effects of these sorts of considerations are relative to the viewer, her access and attention to information about the work, and the experience of viewing. The second arena is the one internal to the work itself. This is the formalist arena. Advancing a claim concerning the work's possession of a certain aesthetic feature generally takes the form of evidencing that possession on the basis of the work's possession of certain nonaesthetic, or... (shrink)

Advancing a claim about the quality of a work of art is critical thinking applied in a particular arena and applies the same rules that advancing a claim about anything follows. Described this way, advancing an art evaluative claim is no different from advancing any claim. On the other hand, advancing claims in differing arenas frequently follow different methodologies. Art criticism, thought of in this way—as a species of critical thinking focused on advancing claims about the quality of works of (...) art—has its own methodology. This paper describes two versions of that methodology, one that is object-focused (or event-focused) and one that is subject-focused. (shrink)