By Frank Sibley
An entire selection of Frank Sibley's articles on philosophical aesthetics, this quantity comprises 5, outstanding, hitherto unpublished papers written in Sibley's later years. It addresses many themes, between them the character of aesthetic traits as opposed to non-aesthetic features, the relation of aesthetic description to aesthetic assessment, the several degrees of overview, and the objectivity of aesthetic judgement. The later papers represent either an important improvement of Sibley's person method of aesthetics, reminiscent of his dialogue of the excellence among attributive and predicative makes use of of adjectives and of the classy importance of tastes and scents, a subject matter Sibley thought of to be a lot missed.
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Extra info for Approach to Aesthetics: Collected Papers on Philosophical Aesthetics
But if asked to describe how they look, we are being asked whether they are long or short, round or oval, straight or slanting. Failing to notice their appearance is failing to notice what their features, colours, shapes are. Appearance in sense (1) simply consists of the visible features (features 26 Aesthetics and the Looks of Things that appear or show) which a thing actually has. It is the sense (or part of it, see below) in which we praise, or the police issue a description of, a person's appearance.
But the child also discovers for himself many of these parallels and takes interest or delight in them. He is likely on his own to skip, march, clap, or laugh with the music, and without this natural tendency our training would get nowhere. In so far, however, as we do take advantage of this tendency and help him by training, we do just what the critic does. We may merely need to persuade the child to pay attention, to look or listen; or we may simply call the music jolly. But we are also likely to use, as the critic does, reiteration, synonyms, parallels, contrasts, similes, metaphors, gestures, and other expressive behaviour.
But when someone can call bright canvasses gay and lively without being able to spot the one which is really vibrant, or can recognize the obvious outward vigour and energy of a student composition played con fuoco while failing to see that it lacks inner fire and drive, we do not regard his aesthetic sensitivity in these areas as particularly developed. However, once these transitions from common to aesthetic uses are begun in the more obvious cases, the domain of aesthetic concepts may broaden out, and they may become more subtle and even partly autonomous.
Approach to Aesthetics: Collected Papers on Philosophical Aesthetics by Frank Sibley