Abstract

The way we think about disagreement is shaped by the systematic emphasizing of its adversarial, non-cooperative aspects. This is due to a perspective on arguing and disagreeing. Perspectives enable some thoughts and occlude others. We claim that the way some issues are thought of in aesthetics is conditioned by a similar phenomenon we call ‘the Received Image’ (RI), which parallels the influence on ethics of what Bernard Williams called ‘systems of morality’. Peter Kivy argued that disagreements in aesthetics, if genuine, presuppose that contenders are tacit realists about ‘art-relevant properties’: the motivation for arguing lies in making the adversary acknowledge (epistemic) defeat (in pursuing agreement from others). He draws this conclusion from what he sees as a fundamental difference between aesthetics and ethics. However, in our view, Kivy and his opponents in the semantic meta-debate on disagreement think under the aegis of the RI. We look at disagreements about art from a neo-cognitivist perspective, and argue that heuristic similarities between aesthetics and ethics stand out with an understanding-based epistemology coupled with an adequate theory of artistic form: form as a perspective-generating device whose grasping involves ‘infinitely fine adjustments’.