In this chapter, I argue against empiricist positions which claim that empirical evidence can be sufficient to defeasibly justify aesthetic judgements, or judgements about the adequacy of aesthetic judgements, or sceptical judgements about someone's capacity to form adequate aesthetic judgements. First, empirical evidence provides neither inferential, nor non-inferential justification for aesthetic opinions. Second, while empirical evidence may tell us how we do respond aesthetically to artworks, it cannot tell us how we should respond to them. And, third, empirical insights into (...) the irrationality of many of our aesthetic judgements do not warrant the sceptical conclusion that we ought to refrain from forming aesthetic opinions. As a consequence of these limitations to aesthetic empiricism, we should endorse the rationalist position that aesthetic criticism is largely a matter of reasoning and, moreover, a collective undertaking. (shrink)

Prominent philosophical accounts of artistic forgery have neglected a central aspect of the aesthetic harm it perpetrates. To be properly understood, forgery must be seen in the context of our ongoing attempts to augment our aesthetic understanding in conditions of uncertainty. The bootstrapping necessary under these conditions requires a highly refined comprehension of historical context. By creating artificial associations among aesthetically relevant qualities and misrepresenting historical relationships, undetected forgeries stunt or distort aesthetic understanding. The effect of this may be quite (...) pervasive, and removing known forgeries from museum walls will be insufficient to eradicate it. Continued attention to forgeries, once exposed, can in fact serve us by increasing our understanding of how aesthetic understanding is formed and by helping us to repair the damage they have inflicted. (shrink)

It is popularly believed within sport's practice communities that a contest fails if the competitor who performs most skilfully in it does not win. The belief is rarely acknowledged explicitly, and therefore deserves to be considered ideological in a sense. In this paper I challenge that belief. For conceptual reasons, I confine the discussion to the purposive sports, e.g. football and tennis. The concept of skill is approached by articulation of a set of platitudes about skill in the purposive sports. (...) The first is the conceptual wedge between skill and success. The second is the distinction between skill and other performance-relevant qualities such as courage, strength and luck. The third is the fact that skill deficits can be compensated by sufficient amounts of the other performance relevant qualities. The fourth is the dispositional and dynamic character of skill. The relation between skill and final objectives in the purposive sports means that (i) qualities such as nerve and courage can trump the more skilful performance; and (ii) poor execution of a narrow range of skills can result in the competitive failure of the more skilful performance. There is no viable ideal of sport that would ground regret about the realisation of the immediately preceding possibilities. The inclination towards such regret might be partly motivated by the wish to take a gratifying view of ourselves. An end to this response, and a more inclusive, less hierarchical conception of sport skills, is worth recommending. (shrink)

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)