Auth: University College London, Distributed by Viking.

The Acquaintance Principle maintains that aesthetic knowledge must be acquired through first-hand experience of the object of knowledge and cannot be transmitted from person to person. This implies that aesthetic knowledge of an object cannot be acquired either from an accurate description of the non- aesthetic features of the object or from reliable testimony of its aesthetic character. The question I address is whether there is any sound argument in support of the Principle. I give scant consideration to the possibility (...) of deriving knowledge from a non- aesthetic description. If this were to be a real possibility, it would certainly disprove the Acquaintance Principle, but its impossibility would not establish it. Furthermore, if the way knowledge were to be derived from a non- aesthetic description were through its enabling a person to imagine the object, a defender of the Acquaintance Principle might simply deem imagining to be a form of first-hand experience. I focus on the possibility of acquiring aesthetic knowledge through reliable testimony because here there is a style of argument that, if correct, would rule out the possibility of knowledge of an item's aesthetic properties being transmitted to someone who lacks the requisite first-hand experience, and the manoeuvre of including imagining under the head of first-hand experience is not available. An argument of this kind is, I believe, the only possible way of establishing the Acquaintance Principle. I try to show that this style of argument fails and that the Acquaintance Principle should be rejected. (shrink)

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

First published in 1989, this book tackles a relatively little-explored area of Wittgenstein’s work, his philosophy of psychology, which played an important part in his late philosophy. Writing with clarity and insight, Budd traces the complexities of Wittgenstein’s thought, and provides a detailed picture of his views on psychological concepts. A useful guide to the writings of Wittgenstein, the book will be of value to anyone concerned with his work as a whole, as well as those with a more general (...) interest in the philosophy of psychology. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Just as nature offers aesthetic experiences beyond the reach of art, so the aesthetics of nature raises issues not contained within the philosophy of art. -/- Malcolm Budd presents four interlinked essays addressing all the main problems about the aesthetics of nature. These include: (...) how the aesthetic appreciation of nature should be understood; the character of an aesthetic response to nature; what kinds of aesthetic experience nature affords and what kinds of aesthetic judgement it is amenable to; the aesthetic significance of intrusions by humanity into nature; whether aesthetic judgements about nature can be objectively true; the doctrine of positive aesthetics with respect to nature; the aesthetic significance of knowledge of nature and in particular whether scientific knowledge is necessary for serious aesthetic appreciation of nature; and the correct model for the appropriate aesthetic appreciation of nature. -/- The Aesthetic Appreciation of Nature also includes a comprehensive exposition and examination of the thoughts of the greatest philosopher to make a substantial contribution to the subject, Immanuel Kant, and an encyclopaedic critical survey of much of the most significant recent literature. Scholars and students of aesthetics will find valuable resources here, and much to think about. (shrink)

Introduction -- Aesthetic judgements, aesthetic principles, and aesthetic properties -- Aesthetic essence -- The acquaintance principle -- The intersubjective validity of aesthetic judgements -- The pure judgement of taste as an aesthetic reflective judgement -- Understanding music -- The characterization of aesthetic qualities by essential metaphors and quasi-metaphors -- Musical movement and aesthetic metaphors -- Aesthetic realism and emotional qualities of music -- On looking at a picture -- The look of a picture -- Wollheim on correspondence, projective properties, and (...) expressive perception -- Wittgenstein on aesthetics. (shrink)

The aesthetics of nature has over the last few decades become an intense focus of philosophical reflection, as it has been ever more widely recognised that it is not a mere appendage to the aesthetics of art. Everyone delights in the beauty of flowers, and some are thrilled by the immensity of mountains or of the night sky. But what is involved in serious aesthetic appreciation of the natural world? Malcolm Budd presents four interlinked studies in the aesthetics of nature, (...) approaching the subject from a variety of angles. As well as developing Budd's own original ideas, the book provides a comprehensive treatment of Kant's classic aesthetics of nature, and an encyclopaedic critical survey of recent literature on the subject. (shrink)

All aesthetic judgements, whether descriptive, evaluative or some combination of the two, and whatever they might be about, whether works of art, artefacts of other kinds, or natural things, declare themselves to be, not mere announcements or expressions of personal responses to the objects of judgement, but claims meriting the agreement of others. Despite the frequent appeal in everyday life to the nihilistic interpretation of the saying ‘It's all a matter of taste’, the doctrine of aesthetic nihilism—the view that such (...) claims are never warranted—does not merit serious attention. What is needed is an articulation of the various kinds of content of aesthetic judgements, one that will reveal what their claim to intersubjective validity amounts to and enable an assessment of what the proper limits of the claim might be. This clarification is what I attempt to provide. After some introductory definitions and classifications, the principal focus of the first part of the paper is descriptive aesthetic judgements, and one issue that figures large is the proper understanding of those judgements of this kind which are expressed in sentences that are intended to be understood metaphorically. A short bridge passage identifies an aesthetic judgement whose content is indicative of the content of evaluative aesthetic judgements of all kinds, and in particular evaluative aesthetic judgements about works of art, which the second part of the paper focuses on. Real illumination of these requires an identification of the aim of art (as such): I offer an account of this aim, which I defend against certain objections that it is liable to attract, and I use it to throw light not just on singular but also on comparative judgements of artistic value. I conclude with some remarks about purely aesthetic value and specifically artistic value and about similarities and differences between evaluative aesthetic judgements of works of art and evaluative aesthetic judgements of works of nature. (shrink)

Roger Scruton's extraordinarily rich and impressive book The Aesthetics of Music has not received the attention it deserves. In this paper I take issue with one of its most striking claims, namely that the basic perceptions of music are informed by spatial concepts understood metaphorically. To evaluate this claim it is necessary to grasp Scruton's theory of metaphor, which has largely been neglected. I sketch his theory and derive from it the essence of his claim about the fundamental role of (...) spatial metaphors in musical experience. With the issue clarified in this way, I attempt to show that the claim is not plausible. (shrink)

My paper examines a vital but neglected aspect of Frank Sibley's pioneering account of aesthetic concepts. This is the claim that many aesthetic qualities are such that they can be characterized adequately only by metaphors or ‘quasi-metaphors’. Although there is no indication that Sibley embraced it, I outline a radical, minimalist conception of the experience of perceiving an item as possessing an aesthetic quality, which, I believe, has wide application and which would secure Sibley's position for those aesthetic qualities that (...) conform to it. (shrink)

If you are interested in art, you engage in artistic evaluation, thinking of one work as being better than another; one artist as being better than another; some works and some artists as being great, mediocre, or poor; and, perhaps, thinking of some forms or genres of art as being superior to others in that works within the favored form or genre have achieved or can aspire to a higher artistic value than is possible for those less favored. The greatest (...) philosophical challenge to this practice—a challenge that, if successful, would have wide-ranging consequences outside philosophy, in particular in undermining the status of the practice of art criticism—would maintain that it is, all of it, taken at face value.. (shrink)

I begin by demonstrating the inadequacy of the idea that the aesthetic appreciation of nature should be understood as the appreciation of nature as if it were art. This leads to a consideration of three theses: from the aesthetic point of view natural items should be appreciated under concepts of the natural things or phenomena they are, what aesthetic properties a natural item really possesses is determined by the right categories of nature to experience the item as falling under, and (...) the natural world untouched by humanity is essentially aesthetically good. I indicate an unclarity in and identify difficulties facing . I distinguish various versions of , reject certain of these, and fault a number of arguments in support of . I conclude that the idea of the aesthetic value of a natural item is such that it endows the aesthetic appreciation of nature with a freedom and relativity denied to the appreciation of art and renders problematic. (shrink)

Roger Scruton appears to have been the first to argue for and articulate an anti-realist theory of aesthetic properties. In the case of emotional qualities of music, his principal argument against realism is unsound and cannot, I believe, be repaired. Nevertheless an anti-realist view of emotional qualities of music is in my view correct and I defend Scruton's insight against a rival realist conception. However, I prefer a rather different form of anti-realism to Scruton's.

The Aesthetic Appreciation of Nature I advance a view of the aesthetic value of nature that Glenn Parsons seeks to contest. Here I attempt to show three things. The first is that his critique of my view of the aesthetic value of a natural thing is malfounded. The second is that his proposed alternative, which is intended to vindicate the claim to objectivity of certain judgements of the aesthetic value of a natural thing, is unconvincing. And the third is that, (...) contrary to what he maintains, I am not committed to the alternative he proposes through an apparent tension in my position, for there is no such tension. (shrink)

A review essay on Charles O. Nussbaum´s The Musical Representation: Meaning, Ontology, and Emotion ; Cambridge, MA: MIT Press, 2013, xii + 388 pp. ISBN 978-0-262-51745-4 ).

The principal aim of Eddy Zemach’s book is to articulate and demonstrate the correctness of a realistic understanding of aesthetic sentences, sentences the surface grammar of which consists in the attribution of an aesthetic property to an item. Zemach is content to represent realism in aesthetics as the view that aesthetic sentences have genuine truth values, describe or misdescribe matters of fact, are objectively true or false depending on whether they correspond to reality, are true if and only if the (...) aesthetic properties they ascribe to things really characterize those things. He is aware that this characterization of realism will not be thought adequate on a minimalist theory of truth, but dismisses the view of those who, like Paul Horwich, advocate a deflationary theory of truth, asserting that this records a special nonrealistic sense of truth. But the difference between a realist and a nonrealist sense of truth is left unexplained. (shrink)

My response consists essentially of an attempt to throw light on Peacocke's basic proposal as to how musical expressiveness should be understood by a comparison and contrast with a somewhat similar suggestion of mine.

An anthology of writings by and about Rudolf Steiner qua economist that documents his search for a deeper understanding of modern economic life. This book throws light on many of the problems that face us today, problems that we cannot solve unless we take hold of the economic life in a conscious, human way and resist the temptation to defer to market forces alone. Though well-known as a seer, the idea of Rudolf Steiner as an economist may seem surprising. Seers (...) do not usually have much concrete to say about economic life, beyond laments about its evils and injunctions that it be guided by some moral dimension. Rudolf Steiner, however, gave many lectures and wrote many articles about modern economic life, which he saw as the arena in which humanity has to find a new relationship to the spirituality that formerly came from above or outside -- from churches and external principles. Today the human being has to find morality within, which one cannot fully do unless one takes hold of the economic realm in a conscious, human way. Whether through concrete references to the meaning and working of money, or in attempting to give a fuller understanding of work or of the significance of market economics in our time, Steiner shows himself to be well versed in the subject. This publication presents a selection of his articles in a context of essays by Christopher Houghton Budd. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Another Look at Silence and Knowledge of God in Ignatius's Letter to the EphesiansRyan Patrick Budd"The man whose delight is in the Lord's teaching knows the art of sitting still in the right place."—Robert Alter, The Art of Biblical PoetryIn this essay, I attempt to supplement the better analyses of St. Ignatius of Antioch's Epistle to the Ephesians (Ign. Eph.) 14.1 through 15.3 with structural insights. The main fruit (...) of the analysis will be to affirm the "mystical" meaning of Ignatius's concept of "hearing Christ's silence": the mature believer, who truly understands Christ's word, will be able to hear the silence of Christ—meaning, to understand Christ's hidden and mysterious Godhead—because Christ dwells within the believer as in a temple. The essay will proceed in three sections: First, a review of the more substantive commentaries on "silence" in Ign. Eph. 14–15; second, a presentation of a potential structure of the passage and a commentary on what that structure, if correct, would yield; and third, a very brief confirmation of the findings by reference to themes in St. Paul's own Epistle to the Ephesians.Scholarly Commentary on Ignatius and "Silence"In discussing Ign. Eph. 14–15, scholars have come to a wide variety of views, for almost as many reasons, as to what Ignatius means when he says the following: [End Page 451]It is better to be silent and to be, than to speak and not be. Teaching is good, if the one speaking should do. There is, then, one Teacher, who "spoke and it came to be," and even the things he has done silently are worthy of the Father. The one truly hearing the word of Jesus can also hear his [Jesus's] silence, that he might be fully made, that he might act through what he says and be understood through his (the believer's) silence.(15.1–2)1There are, however, two predominant camps into which one could group the different scholarly opinions: the first camp holds that Ignatius merely is speaking about integrity, the correspondence between words and deeds;2 the second camp holds that he is enunciating a kind of Christian mysticism.3 Two prominent members of the second camp, Virginia Corwin and Gregory Vall, though quite distinct in their views of the bishop of Antioch, provide reasoning that I find decisive in favor of recognizing that Ignatius—while certainly emphasizing a true correspondence between words and deeds—carries the point further than simple moralizing.Virginia Corwin's "Reserve of Deity" and the Believer's Knowledge of ChristCorwin, in her analysis of the passage, points toward a "reserve" existing "behind" the visible works of Christ, which is to be identified with his invisible, and thus "silent," Godhead, which one who truly hears his word can also "hear." She acknowledges, however, that Ignatius first recognizes Christ as an example of a truly effective teacher due to the absolute [End Page 452] correspondence between his words and his acts. She writes, "Christ... is a teacher unlike most, since there is no contrast at all between his profession and his actions.... He has an absolute clarity and a complete lack of any hypocrisy."4 The result of this recognition is not to stress ethical integrity, however important: it is to argue that, because of the correspondence between Christ's words and his silent acts and his even more silent person, the one who knows his words can come to a deep, profound, and infallible knowledge of who he is, himself.Corwin argues that there is something more about this Teacher than the mere—though impressive—integrity of his message:But it is not only the integrity of the teacher that distinguishes him, but his unique power: "He spoke and it came to pass"; at these words to the minds of both the writer and the hearers of the letter must have occurred the image of the mighty acts of creation.... It is precisely because the words of Jesus are in a sense mighty acts that they must be seen in the larger perspective.5Which "larger perspective" she means... (shrink)