Andrew Ward

The attempt to base a standard for assessing the value of works of art upon sentiment was famously made by David Hume in his essay "Of the Standard of Taste." Hume's attempt is generally regarded as fundamentally important in the project of explaining the nature of value judgements in the arts by means of an empirical, rather than a priori, relation. Recently, Hume's argument has been strongly criticized by Malcolm Budd in his book Values of Art. Budd contends that Hume utterly fails to show how any given value judgement in the arts can be more warranted or appropriate than any other if aesthetic judgements are determined by sentiment. This is a remarkable charge, since Hume explicitly sets out to introduce an aesthetic standard for "confirming one sentiment and condemning another." I examine Budd's arguments and conclude that Hume's position-and the empiricist tradition that it inaugurated-can withstand them.

On the standard reading of Hume, the belief that the necessity associated with the causal relation is “an entirely mind-independent phenomenon” in the world isunjustified. For example, Jonathan Bennett writes that necessary connections of the sort that Hume allows are not “relations which hold objectively between the ‘objects’ or events which we take to be causally related.” Similarly, Barry Stroud writes that, according to Hume, we believe falsely “that necessity is something that ‘resides’ in the relation between objects or events in the objective world.” In this paper I argue that this reading of Hume is mistaken and that there is a sense of justification (viz., justification qua “proof”) according to which human beings are justified in holding the belief that the necessity associated with the causal relation is “an entirely mind-independent phenomenon” in the world.