Comparing and Sharing Taste: Reflections on Critical Advice

Ross, Stephanie

doi:10.1111/j.1540-6245.2012.01528.x

Cited by 5 publications

(3 citation statements)

References 2 publications

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“…Many go soft core: different true judges set standards for different taste communities, where some and not all aesthetic kinds are endemic. A judge who sets a standard for Upper West Side students of serial music does not set a standard for Glaswegian pre-teens who are into manga (Goldman 1995; Ross 2012).…”

Section: Aesthetic Hedonismmentioning

confidence: 99%

Beauty, the social network

Lopes

2017

Can. J. of Philosophy

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Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which they operate. This paper proposes a new theory of aesthetic value specifically to explain facts about the sociality of aesthetic agents.

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Section: Aesthetic Hedonismmentioning

confidence: 99%

Beauty, the social network

Lopes

2017

Can. J. of Philosophy

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“…Suitability requirements need to be in place. I have argued elsewhere (Ross 2012) that experts ought only to judge works of types in which they are capable of taking an interest. I conclude that even after my worries about B&R's psycho-historical framework have been quieted, considerable artfulness will be required to design effective empirical tests of their theory.…”

Section: Stephanie Rossmentioning

confidence: 99%

A psycho-historical research program for the integrative science of art

Bullot

Reber

2013

Behav Brain Sci

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Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further specify our claim that basic exposure and the design stance are necessary conditions of artistic understanding; and we explain why many experimental studies do not belong to a psycho-historical science of art.

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mentioning

confidence: 99%

Context, causality, and appreciation

Ross

2013

Behav Brain Sci

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I applaud and elaborate on the contextualism at the heart of Bullot & Reber's (B&R's) theory, challenge two aspects of the appreciative structure they posit (the causal reasoning that allegedly underlies the design stance and the segregation of the component stages), suggest that expert and novice appreciators operate differently, and question the degree to which B&R's final theory is open to empirical investigation.

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Comparing and Sharing Taste: Reflections on Critical Advice

Cited by 5 publications

References 2 publications

Beauty, the social network

Beauty, the social network

A psycho-historical research program for the integrative science of art

Context, causality, and appreciation

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