By Frank Sibley
A whole choice of Frank Sibley's articles on philosophical aesthetics, this quantity contains 5, notable, hitherto unpublished papers written in Sibley's later years. It addresses many subject matters, between them the character of aesthetic features as opposed to non-aesthetic features, the relation of aesthetic description to aesthetic evaluate, the several degrees of assessment, 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 Sibley thought of to be a lot ignored.
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Extra info for Approach to Aesthetics: Collected Papers on Philosophical Aesthetics
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. , 'a greyish face') that someone or something might merely appear to have under unusual lighting or from odd angles. Similarly, it would be foolish if, asked suddenly to describe how the letter *t' in the newspaper looked, we held it at an angle and replied 'very short and dumpy'.
But these are natural ways of talking about aesthetic matters. 17 1. We may simply mention or point out non-aesthetic features: 'Notice these flecks of colour, that dark mass there, those lines'. By merely drawing attention to those easily discernible features which make the painting luminous or warm or dynamic, we often succeed in bringing someone to see these aesthetic qualities. We get him to see B by mentioning something different, A. Sometimes in doing this we are drawing attention to features which may have gone unnoticed by an untrained or insufficiently attentive eye or ear: 'Just listen for the repeated figure in the left hand', 'Did you notice the figure of Icarus in the Breughel?
We notice with pleasure early spring grass or the first snow, hills of notably marked and varied contours, scenery flecked with a great variety of colour or dappled variously with sun and shadow. We are struck and impressed by great size or mass, as with mountains or cathedrals. We are similarly responsive to unusual precision or minuteness or remarkable feats of skill, as with complex and elaborate filigree, or intricate wood carving and fan-vaulting. It is at these times, taking advantage of these natural interests and admirations, that we first teach the simpler aesthetic words.
Approach to Aesthetics: Collected Papers on Philosophical Aesthetics by Frank Sibley