By Frank Sibley
A whole selection of Frank Sibley's articles on philosophical aesthetics, this quantity contains 5, extraordinary, hitherto unpublished papers written in Sibley's later years.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 traits, the relation of aesthetic description to aesthetic assessment, the several degrees of review, and the objectivity of aesthetic judgement. The later papers represent either an important improvement of Sibley's person method of aesthetics, comparable to his dialogue of the excellence among attributive and predicative makes use of of adjectives and of the cultured importance of tastes and scents, an issue Sibley thought of to be a lot ignored.
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The comment that two people are perfectly suited, each setting off the other, might be an aesthetic one; but it concerns their characters, temperaments, or interest, not appearances. I want also to comment briefly on the further claim that for aesthetic vision 'the question of reality never arises* and that we are not concerned with something 'being so-and-so'. I have given one sense in which this is false. In another sense it is doubtless true: with looks of the restricted types falling under (2), the question whether something is warm, fast, or top-heavy never arises.
Once examples have been given to illustrate it, I believe almost anyone could continue to place further examples—barring of course the expected debatable, ambiguous, or borderline cases—in one category or the other. To deny such a distinction is to be precluded from discussing most questions of aesthetics at all, just as one could hardly begin ethics without the prior recognition that some judgements and notions do, while others do not, concern morality. One must be able to recognize examples of one's subject-matter.
When our admiration is for something as simple as the thinness of a glass or the smoothness of a fabric, it is not difficult to call attention to such things, evoke a similar delight, and introduce suitable aesthetic terms. These transitions are only the beginnings; it may often be questionable whether a term is yet being used aesthetically or not. Many of the terms I have mentioned may be used in ways which are not straightforwardly literal but of which we should hesitate to say that they demanded much yet by way of aesthetic sensitivity.