Edward Skidelsky

Defenders of happiness surveys often claim that individuals are infallible judges of their own happiness. I argue that this claim is untrue. Happiness, like other emotions, has three features that make it vulnerable to introspective error: it is dispositional, it is intentional, and it is publically manifest. Other defenders of the survey method claim, more modestly, that individuals are in general reliable judges of their own happiness. I argue that this is probably true, but that it limits what happiness surveys might tell us, for the very claim that people are reliable judges of their own happiness implies that we already have a measure of how happy they are, independent of self-reports. Happiness surveys may help us extend and refine this prior measure, but they cannot, on pain of unintelligibility, supplant it altogether.

In 1973, the philosopher George Dickie proposed an ingenious new answer to the old question: what is art? Arthood, he suggested, is not an intrinsic property of objects, but a status conferred upon them by the institutions of the art world. He accordingly attached an exemplary significance to works like Duchamp's urinal, whose very lack of intrinsic distinction focuses our attention upon their institutional context. But his theory was about art in general, and not just readymades. ‘I am not claiming that Duchamp and his friends invented the conferring of the status of art; they simply used an existing institutional device in an unusual way.’