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3 ideas
5933 | Aesthetic enjoyment combines pleasure with insight [Ross] |
Full Idea: Aesthetic enjoyment seems to be a blend of pleasure with insight into the nature of the object that inspires it. | |
From: W. David Ross (The Right and the Good [1930], §V) | |
A reaction: This is persuasive. Concentration seems required for aesthetic pleasure. It probably enhances sensual pleasure, but it doesn't seem essential. Some literature only gives the illusion of insight, and there is no real insight in listening to music. |
5928 | Beauty is neither objective nor subjective, but a power of producing certain mental events [Ross] |
Full Idea: In order to avoid the difficulties that beset both a purely objective and a purely subjective view of beauty, I find myself driven to one which identifies beauty with the power of producing a certain sort of experience in minds. | |
From: W. David Ross (The Right and the Good [1930], §IV) | |
A reaction: This makes beauty a relational quality, rather than an intrinsic one. Ross's theory won't avoid the many usual problems about relativism. Do we define colour similarly, as a power in objects to produce certain sensations? |
12875 | One false note doesn't make it a performance of a different work [Simons] |
Full Idea: A performance of a certain work with a false note is still a performance of that work, albeit a slightly imperfect one, and not (as Goodman has argued) a performance of a different work. | |
From: Peter Simons (Parts [1987], 7.6) | |
A reaction: This is clearly right, but invites the question of how many wrong notes are permissable. One loud very wrong note could ruin a very long performance (but of that work, presumably). This is about classical music, but think about jazz. |