Theodore Gracyk

The key idea given in Eminem's defense is that viewers who were upset were simply not understanding the nature of his performance. Implicitly, his defense admits that lip‐synching would be a fraudulent performance. However, the defense reclassifies these performances as genuine but flawed, ones in which he sometimes went silent when he should have been “doubling” the prerecorded vocal. Basically, Eminem's Saturday Night Live (SNL) presentations of “Mosh” and “Bezerk” are Andy Kaufman's “Mighty Mouse” piece minus the frame that raises the philosophical issues. Offering no larger frame and no indication of more complex intentions, Eminem's SNL performances of “Mosh” and “Bezerk” offer the audience little or nothing to appreciate. Depending on what a reader thinks he intended to do, he either did not give a live performance, or he gave a bad live performance. Kaufman, in contrast, used lip‐synching to give a great live performance.

This essay details David Hume’s complex contextualist account of aesthetic properties. Focusing mainly on the essay “Of the standard of taste”, I argue that Hume’s account of aesthetic properties anticipates many points advanced in Kendall Walton’s 1970 essay “Categories of art”, most notably the thesis that proper detection of most aesthetic properties depends on awareness of which nonaesthetic properties are standard, contra-standard, and variable for the relevant category of art. Consequently, they both reject the position we now describe as aesthetic empiricism. Yet there are also distinctive aspects of Hume’s account. Most notably, Hume holds that delicacy of imagination is involved in avoiding prejudice when perceiving nonaesthetic properties. He also proposes that aesthetic terms such as “beauty” and “elegance” capture positively valenced thick concepts because aesthetic properties are necessarily (in part) value properties.