Category: Hannah Arendt

Judgment: Quality, Qualities, and Qualia

I have been noodling on about judgment on this blog for quite some time now (years!). And I have written about judgment in Kant and Hannah Arendt in published work, including a forthcoming essay on Arendt that I will post on this blog sometime in the near future.

Still, judgment is a very capacious term and it is often unclear what various thinkers—or me—actually is using the term to designate. So this post will be an attempt to list a variety of ways the term judgment gets used (Wittgenstein: a word’s meaning is its use) and to see if the various uses are tied to one another or are separate (and better left separate). Quality, Qualities, and Qualia as a title is meant to outline the territory to be covered although I am afraid those three terms won’t quite do the whole trick. Complexities will creep in. But let’s start.

Quality.

This is mostly the easy one. Judgment is very commonly tied to an evaluation of something. I judge whether something is good or bad. I am, then, considering what is the “quality” of the item in question. Aristotle thought such judgments were based on a prior conception of the item’s purpose. A good knife is one that cuts well since cutting is a knife’s purpose. Judgments in such cases may be absolute (to cut well is to be a good knife), but in practice tend to be comparative. This knife is better than that knife because this knife cuts better. It requires a Platonic ideal of good cutting to make an absolute judgment about a particular knife. In practice, we usually have something rougher in mind: this knife is “good enough” because it gets the job done. Whether it is the ne plus ultra of knives doesn’t concern us. We are dealing with the knives available to us in the here and now, not the whole range of all existing and possible knives. We make our judgment, we choose, among the alternatives we actually have access to.

Judgments, however, can proceed along different axes. We can judge the knife aesthetically. In that case, its qualities (first appearance of my second term in the title) as a cutter are subordinated to other qualities (its shape, its color, its weight). Aesthetic qualities are ones that please the senses (the root meaning of the word “aesthetic”) and are only tangentially related to function, if at all. Aristotle’s focus on “purpose” is functionalist, whereas the aesthetic is usually only tangential to function, and can be in overt hostility to function. An aesthetic judgment, then, considers an item’s quality in relation to a different set of criteria than a functional judgment does. Notoriously, aesthetic judgments seem squishy as compared to functional ones—and generate much more confusion and controversy over what the criteria for judgment are. Even where there is some agreement and clarity about the criteria being invoked in an aesthetic judgment, disagreement in actual judgments remains very common.

The lack of such disagreements in functional judgments is connected to the use to which the object is being put. If I am using the knife to cut something, then the degree to which it aids or hampers that effort provides the ground for judgment. If I am trying to use the knife to punch a hole in leather or paper, the fact that the knife proves a poor tool for that endeavor indicates I am using it for a purpose it cannot do well. With aesthetic objects, however, their purpose is less clear cut. Do I value the painting because it is pleasing to the eye, because it fills up an empty space on the wall, because it reflects upon a certain tradition in painting, because it indicates my wealth, status, education, and taste? All of these are possibilities and none of them necessarily excludes the others. Aesthetic objects have multiple uses, while seemingly not tied to any specific use. Hence the fuzziness of aesthetic judgments, which vary according to the objective criteria being applied and according to the subjective taste of the one who judges.

The term “value” snuck into last paragraph. A judgment is an evaluation. It makes a determination as to the “quality” of some thing—and such judgments seem inevitably tied to an assessment of that thing’s “value.” A knife that cuts well is more valuable than one that does not. I would rather possess (and use) the good knife than the poor one. (Again, comparative in relation to the possible.) We value things in relation to whether their qualities are desirable and are conducive to advancing our own purposes.

To pragmatic (purpose oriented) and aesthetic judgments, we must add moral judgments. The criteria in moral judgments is not exclusively whether an action furthers achievement of a purpose or if the action is “pleasing” to witness or contemplate. These two bases for judgement need not be excluded in making a moral judgment, but they are neither necessary nor (crucially) sufficient. A moral judgment must involve a further consideration: the quality of the action in relation to specifically moral criteria. Identifying moral criteria has proved just about as tricky and ambiguous as identifying aesthetic criteria. The ongoing debates between Kantians and utilitarians is just one instance of the inability to designate criteria for moral judgments that convince everyone. Such debates often end up appealing to “moral intuitions” to make their case (Wittgenstein: here my spade turns; I can say no more). It’s as if “I know a moral action when I see one” for moral judgments crops up alongside the “I know what I like when I see it” explanation of aesthetic judgments. Moral judgments seem to be endemic—and necessary!—to human social life. But disputes over moral judgments are as frequent as (and seem much more consequential than) disputes over aesthetic judgments.

To sum up before moving on to qualities: judgments are evaluations of the “quality” of something (an object, an action, even of a person). Such judgments, at the crudest level, decide whether something is good or bad. A good knife, a good painting, a good action, a good person as contrasted to ones that are less good or even positively bad. And we in most cases value good instances of things over bad instances. There are notable exceptions to this last statement. We perverse humans can find all sorts of reasons to make the bad our good (to quote Milton’s Satan).

OK. Right now, we are in the land of endless and irresolvable disputes over aesthetic and moral judgments. One common response to that problem has been to say the fact of disagreement can be wildly exaggerated. Do we really disagree over whether the sexual abuse of a child is good or bad? Is there anyone out there insisting that Love Story is a better novel than Middlemarch? Of course there are difficult cases for making moral and aesthetic judgments, but there are many more cases where there is widespread, close to universal, agreement. It’s only philosophers who agonize over the hard cases. For the rest of us, we have “good enough” consensus and learn to live with the instances where consensus cannot be reached. Yes, some disputes lead to serious conflict since human beings are an argumentative and aggressive lot. But humans have also instituted procedures for conflict resolution—and when we are persistent and lucky such institutions do their job and bloodshed is avoided.

Qualities

The informal, non-institutionalized, form of conflict resolution is talking things over and through. And this is where “qualities” enter the picture. We disagree over the quality of a painting. To talk through that disagreement, the best strategy (it seems to me) is to step back from the judgment and to instead focus on describing the painting to one another. Are the colors vibrant or muted? Do they harmonize or clash? How is the space of the canvas allotted? Are the figures representational or abstract (or some blend of the two)? Et cetera. Judgment relies upon, is based on, a discernment of qualities. Various writers, Hannah Arendt among them, wrap this discernment function into the very notion of judgment.

Arguably, Kant does as well. A Kantian determinate judgment is an act of apprehension. For Kant, we apprehend the qualities of a thing—and then judge what kind of thing it is. We very rarely disagree as to whether something is a knife, not a spoon, fork, or kettle. So the most basic judgment is what kind of thing a thing is. And the “kind” is supplied to us by culture, by our language. We don’t invent a new category, or word, or kind, to identify this knife as “a knife.” We use the term our language has already given to us. In this way, we occupy a common world.

Judgment understood this way is non-individual. It is the way that individuals participate in a shared universe. Individuals re-affirm their deep connection to others as they make these mundane (automatic, rarely reflective) judgments constantly. Solipsism is a boogy-man. It is impossible to be a solipsist so long as you use the common language. I read Wittgenstein’s claim that a private language is impossible as saying that the individual cannot construct a world to occupy on his or her own. The world only achieves solidity through its being “worded” by an ensemble of selves. Kant’s determinate judgments refer to specific instances where we encounter some thing and need to identify it. But there is no individual ability to make determinate judgments based on a completely individual set of “categories” or “kinds” or “concepts” (to go back to my earlier posts on percept/concept).

It is, I am suggesting, just a further refinement on judgment as discernment to dive down into the “qualities” of things. There is the crude first determination: that is a knife. But now we can appeal to other culturally provided descriptors to be more detailed. The knife has a certain shape, a certain weight, a certain size. Again, agreement about these features should not be hard to achieve. Evaluation of these features is likely to be more various. I might prefer a knife of a certain heft, while you find it too heavy. I might find a certain shape of its handle comfortable and thus a way to make it better for me to use—while that may not be the case for you. But we have narrowed down, specified more concretely, why your evaluative judgment of the knife differs from mine.

We can take the same approach to aesthetic disputes. If we can agree that the work’s colors are vibrant and non-harmonious, we can then understand if we disagree about whether such an effect is pleasing or not. Aesthetic objects, however, are complex. What we value in certain critics is their ability to draw our attention to features of the aesthetic object that we had not noticed. Here we recognize that some people, in relation to some kinds of objects, have greater powers of discernment. These people apprehend more—and have a talent for articulating what they apprehend. When we read a superb critic of a literary work (for example), we see things in the work that we missed. Judgment as discernment highlights “qualities” and appeals to others to acknowledge the presence of those qualities. It enriches the experience of encountering a thing. Taking a hike with a naturalist is analogous. I am alerted to features of the forest that I miss when hiking by myself.

It is still an open question how to evaluate those features. I may find them boring and wish the naturalist wouldn’t bang on about this or that. But I am not inclined to disagree about whether the features actually are present in the forest. Again, when it comes to aesthetic objects, matters can be more complicated. Since a certain form of literary criticism highly values “unity,” we find critics who work very hard to “prove” that Moby Dick or Ulysses are unified works, whereas I find those two books wildly incoherent, manic in their throwing together of disparate materials and thought. But, then again, I don’t rate “unity” as such a valuable criteria for aesthetic judgment as many others do. A conversation about such matters can make at least some progress by clarifying what features (qualities) I think a work has and what criteria I employ to judge its quality. My interlocutor and I can at least see where we agree, where disagree.

Another way to say this is that our stake in making evaluations generates our powers of discernment. That is why judgment comes to encompass both evaluation and discernment. I have increased powers of discernment where something is of value, of particular interest, to me. If I don’t care much about the differences between oaks and spruces or between different varieties of ferns, then I am much more likely not to notice those differences. Where I am engaged, I can discern more. And that’s why we turn to “experts,” to people who have a command of the relevant terms and features that allow more discerning and detailed descriptions of particular things. Those are the people whose judgment about a thing’s “qualities” we have come to trust. I think this is what we mean when we talk of an “informed judgment.” Someone able to apprehend the “qualities” of something in rich detail is more informed about that thing and, thus, has more information on which to base a judgment of its quality.

Pragmatic Judgment

This lead me (before I get to qualia) to another common way to use the term “judgment”—a way not quite consonant with my quality, qualities, qualia rubric. This meaning of judgment is pragmatic, and connected with the Aristotelean term “phronesis” (often translated as “practical wisdom.”) The colloquial usage here is to characterize a person as having “good judgment.” Judgment in this case involves evaluating what is possible and/or desirable to do in this particular set of circumstances. It requires (so the thinking goes) an excellent discernment of the actual features of the situation plus an ability to discern what the situation affords plus a clear sense of one’s own needs/desires plus a sensible prioritizing among those needs/desires in relation to what is possible here and now. Phronesis is both very specific (tied to this situation and to my purposes) and very holistic (it sees the situation in its full complexity). Quality and qualities are intertwined here. I must discern the features of the situation even as I aim to act in ways that enhance the quality of my position. Embedded in the world, I have the meliorist (William James) goal of bettering my position at every turn, fending off threats to well-being even as I also try to improve that well-being. Good judgment leads to success in that endeavor—a fact brought home by witnessing how often human actions are counter-productive, make things worse instead of better. Good judgment is hard and fairly rare, hence its being awarded the honorific term of “wisdom.”

One version of good judgment is to be a “good judge of character.” Since one of the most crucial wild cards in judging any situation is how much I can rely on the other people who occupy the world alongside me, it is very important to assess accurately the talents and trustworthiness of others. I can only expect help from people capable of providing that help (I don’t expect a doctor to fix my clogged pipes) and can only enlist that help from people who will be willing to provide it. So I must make a judgment before the fact as to whether this or that person will actually do what I need them to do. Relying on someone who lets me down is a failure of judgment, of phronesis.

Qualia

OK. Now let me turn to qualia. In the literature on consciousness, the term “qualia” names the “sensation” that accompanies any experience. It feels like something to see a Matisse painting. There is the perception of the painting—and there is the feeling that the perception produces. An organism can be conscious of something; it is only when that consciousness of something is accompanied by consciousness of an internal feeling (some state of being for the perceiving consciousness) that we have “sensation” as well as “perception.” (I am following Nicholas Humphrey here, from his book Sentience: The Invention of Consciousness (MIT Press, 2023), but Humphrey’s usage is fairly standard in the literature. Only “fairly standard,” of course, because there is disagreement about everything relating to these matters among those who consider them.) “Phenomenal consciousness” is the term deployed to designate the experience of a “feeling,” a sensation (an awareness) of an internal state of being.

Quick aside: the “hard problem” in consciousness studies is how to explain the fact of phenomenal consciousness. Current science can do a good job of explaining the physiological processes that enable one to see the Matisse painting, but we have no remotely adequate account of the processes that would generate the “feeling” that accompanies that perception. The holy grail of consciousness studies is to explain phenomenal consciousness. The “mysterians” say we will never get that explanation; the hard-core materialists say phenomenal consciousness is an illusion, not a real thing that needs to be explained. But most writers accept that phenomenal consciousness is real—and that we lack a good account of its reality.

Back to qualia. What has they got to do with judgment? Everything if we adopt the James-Lange theory of emotions. Basically, that theory says that our bodies react immediately to the environmental circumstances one confronts in any situation. (And situations keep unfolding, keep popping up, because the world we inhabit is much more one of constant change than one of stasis.) Living things are reactive—finely tuned to apprehend the environment and to adjust to the circumstances. For James-Lange, feelings (sensations) follow from that bodily adjustment/attunement. The sensation is how we come to realize what our body’s reaction is. Feelings are informational; they inform us of how our body has responded to what the world is throwing at it.

If this theory is correct, then judgment is instantaneous. Our body both judges what the circumstances are (picking out especially what is most relevant to its most important concerns) and judges (acts upon) what an appropriate response to those circumstances are. Qualia (our sensation or feeling) registers for our conscious selves the judgment that has already been made on an unconscious, bodily level.

There are various ways one can argue that it’s evolutionary useful for organisms to acquire an ability to be consciously aware of these unconscious bodily responses. If we know what our body is doing, we can monitor and even (possibly) revise its responses. I return here to the recurrent notion that consciousness introduces a pause into the processes of stimulus/response. The body (in the James-Lange theory) responds immediately and automatically, without any involvement on the part of consciousness. The bodily judgment is direct; it does not pass through consciousness. But the ability to pick up the signal that informs consciousness of what that response is provides the possibility of assessing it and revising it. I.e. there is now a second moment of judgment superimposed on the first, automatic one. This seems similar to the “thinking fast and slow” that Daniel Kahneman and Amos Tversky introduced into the social sciences. (Daniel Kahneman, Thinking, Fast and Slow [Farrar, Straus, and Giroux, 2011]). And it chimes with the work of Martha Nussbaum and others on the cognitive function of the emotions. (Martha Nussbaum, Upheavals of Thought: The Intelligence of Emotions [Cambridge UP, 2003].) We know about things, about our environment, through our emotional responses to things. But we are not ruled entirely by our emotions if consciousness allows for us to examine them, to consider if they are appropriate responses to the situations that elicited them.

What, then, of the discernment judgement calls forth (as described in my thoughts on “qualities.”) For James, efforts to explain a judgment always come after the fact. We strive to “rationalize,” to provide reasons for, the judgments our body has already made. We want to “justify” a decision after the fact. Deliberation, we might say, comes after, not before, action. Still, this desire to justify can hone attention, can make us more discerning. And that training of apprehension can then influence future instances of immediate, bodily judgment. Organisms learn. Feedback from one instance gets incorporated (in the literal sense of that word: taken into the body) in ways that manifest themselves in future interactions.

The desire to justify points us toward the communal pressures upon judgment that Kant (and Arendt in her reading of Kant’s Critique of Judgment) emphasizes. Others demand of us an explanation of our judgments and the actions based upon them. Why do you think Picasso a lesser artist than Matisse? Why did you do that? In answering such questions, we are very likely to point toward features of the paintings or features of the situation we faced as explaining why made the choices we made. Even if these explanations are “rationalizations” in the negative sense of being excuses for judgments or actions actually made unthinkingly, they do heighten consciousness about our own proclivities and about the complexities (the manifold details) of worldly things and situations. Because we are called upon to give an account of our judgments and actions, we develop our powers of discernment.

Arendt translates Kant as saying that our attempts at justification “woo the consent of the other.” There are no absolutely compelling justifications; they are always contestable. But we want to stand in the good graces of others, so we try to get them to see it our way (as Paul McCartney puts it).

For Nicholas Humphrey, this need to justify ourselves provides an evolutionary reason for the emergence of phenomenal consciousness. Because we are social animals, humans must find a way to “work it out” (to quote McCartney again). And we can only do that, Humphrey thinks, if we have some sense of what others think and feel. How can we know what “reasons” others will find convincing as we strive to get them to accept our excuses, our ex post facto explanations? The self-consciousness that phenomenal consciousness enables allows us to imagine how our fellow humans take things, what their sensations are in response to different situations. Judgment moves from being the purely individual response to the environment toward an always already socially-inflected response. Our need for, dependence on, others means that their responses to our judgments (and the actions those judgments will inspire) influence the judgments from the start. Another way to say this: the environment humans face always includes other humans and maintaining desirable relations to those humans is a high priority in any assessment of appropriate responses/adaptations to the environment. Our learning includes a big dose of learning how other humans respond to us when we make this or that judgment, take this or that action. We “norm” our taste to fit the groups to which we want to remain members in good standing.

The changing musical tastes of college students offer a good illustration of that last point. Students will abandon old favorites in favor of more ”sophisticated” ones as they learn new codes of distinction. Is the music they now listen to “better” than the music they abandon? Hard to say. Depends on the criteria applied. But they will almost certainly acquire a richer vocabulary in which to describe and justify their tastes, while also learning what counts as compelling justifications of taste judgments to the people whose consent they are trying to “woo.” And they will learn what musical tastes are deemed outside the pale.

I will end by saying that the entanglement of judgment with “sociality” (to invoke Arendt on Kant again) is where much of my interest lies. I want to nail down (and feel I have yet to do so to my satisfaction) the way that judgments are not just influenced by, but are only possible within, intersubjective relations. Relevant factors are the non-private languages in which judgments are articulated/communicated and the pressure to explain/justify our judgments. But I still feel like something is missing here, some key piece to the puzzle of how what seems individually located (the response of my body to a situation and my subsequent conscious awareness of that response) is not very individual at all.

Treason—and Trump

I have been working my way (painfully slowly) through Raimond Gaita’s Good and Evil: An Absolute Conception (2^nd. Edition, Routledge, 2004). It’s a brilliant, fascinating, frustrating, idiosyncratic book. Amazingly right in places, confoundingly wrong in others—and all over the map. I hope to write more directly about its main arguments in subsequent posts.

Right now, however, I just want to use what he has to say (in one of his digressive moments) about treason. Here’s the most relevant passage (for my purposes here, but also for what seems to me his apt understanding of what treason is):

“Treason is a crime against the conditions of political communality. Traitors, by ‘aiding and abetting’ the enemy of their people, help those who would destroy them as a people. Or, they deliver their people and the conditions that make them a people—which enable them to say ‘we’ in ways that are not merely enumerative but expressive of their fellowship in a political identity—as a hostage to the improbable good fortune that their enemies will respect their integrity as a people. Therefore, treason is not essentially, or indeed ever at its deepest, a crime against the state. It is actually a crime against a form of civic association” (253-54).

To wit: treason threatens the very terms of, the very existence, of the civic association that undergirds the state. In reference to Trump: the crime is not against the state, but against the very conditions that make the state possible. That is, one crucial term of American civic association is that the winner of an election gets to hold the office for which that election was held. “We” as Americans can disagree fiercely about all kinds of things, but “we” are no longer a “we” when we do not abide by the results of elections. The state cannot exist if its office holders are not those who have been duly elected. There is no political community left if elections are not respected.

Another point: Gaita’s description of treason holds better for Eastman and Clark (and the others in the Georgia indictment) than it does for Trump. The co-conspirators have aided and abetted the enemy who is aiming to undermine the constitutive civic association. But Trump is the enemy, not one who aids the enemy. He aims to destroy the foundational commonality that makes the political entity called the United States possible.

I could get sidetracked into the legerdemain by which Trump and his followers would insist they are not trying to destroy America, but in fact save it (make it great again). Not worth going down that rabbit hole. But it is notable that they act in a way that would destroy the civic association, while also aiming to keep its infrastructure intact so that there are offices for them to occupy, state functions that they can take over. That’s why there is an argument that their efforts were an attempt at a coup, not a full scale treasonous act whose goal was the utter destruction of a polity or of a “people.”

I don’t know if much hinges on deciding whether Trump and his henchmen are guilty of a failed coup attempt or of treason. In both cases, they are certainly guilty of breaching the constitutive rules of American political and civic life. They have manifestly failed to uphold and defend the Constitution, as many of them swore to do when they took their various oaths of office.

Another side note: the always cogent Timothy Burke has a blog post in which he wonders how anyone with even a modicum of sense would ever go to work for Trump (whose record of treating his helpers dismally is unambiguous and exists in plain sight). Burke doesn’t have any good answers; he can only shake his head in disbelief. Even if Trump is on the rise, no one ever benefits from hitching their wagon to his star. His narcissism can’t abide sharing his triumphs (and whatever fruits those triumphs yield in the way of money, fame, or power) with anyone. Of course, Burke’s puzzlement here only echoes the wider puzzlement over the cult of Trump among such a large share of the populace. This recent CBS poll boggles the mind. Among Republican voters, Trump is deemed more honest than everyone else in their lives by large margins. (Even more than intimates, although the gap there is much lower. Only 8% trust Trump more than their family members.) So much for Hannah Arendt’s sophisticated take on the general cynicism generated by authoritarians, that is, the notion that everyone knows they are lying, but just think “everyone lies” and shrug. No: the lies are believed; they are deemed the only truth out there. (See NOTES below for references.)

But back to Gaita. Because treason (on his take) “undermines . . . the conditions which make it possible for a people to speak as a people, . . . the most fitting (though not, any more, practical) punishment for unrepentant traitors . . . is banishment” (257).

What a lovely thought! I don’t actually see why banishment is “not, any more, practical.” Surely we could send Trump abroad—wonderful to think he would flee to Saudi Arabia—and then keep him from re-entering the United States.) In any case, since banishment is not on the table, let’s at least indulge our fancies in thinking how appropriate the penalty would be in Trump’s case. What he craves is admiration and adulation. Deprive him of his audience, of the “people” to whom his plea for attention is made, let him fulminate in the emptiness of cyber-space entirely outside of the context (an actual civic association) to which his tweets are addressed. Delicious. The punishment would fit the criminal (and, possibly, also the crime) in a Dantesque manner.

NOTES

The Timothy Burke blog post on Trump’s henchmen.

https://timothyburke.substack.com/p/the-news-henchmen-on-the-monster?utm_source=post-email-title&publication_id=381094&post_id=136340849&isFreemail=true&utm_medium=email

The CBS poll: https://www.cbsnews.com/news/trump-poll-indictments-2023-08-20/

Here’s the most relevant finding in that poll, but it’s very much worth looking at the entire poll results (available through the link).

Finally, the relevant Hannah Arendt passage that has been making the rounds over the past eight years as pundits and others try to come to terms with the phenomenon of the Trump cult:

In an ever-changing, incomprehensible world the masses had reached the point where they would, at the same time, believe everything and nothing, think that everything was possible and nothing was true… The totalitarian mass leaders based their propaganda on the correct psychological assumption that, under such conditions, one could make people believe the most fantastic statements one day, and trust that if the next day they were given irrefutable proof of their falsehood, they would take refuge in cynicism; instead of deserting the leaders who had lied to them, they would protest that they had known all along that the statement was a lie and would admire the leaders for their superior tactical cleverness. (From The Origins of Totalitarianism)

Arendt’s take has proved both too sophisticated and too optimistic. What we have seen instead is that no amount of “irrefutable proof” will lead the cultists to recognize the lie as a lie. The cultists don’t have to retreat to the redoubt of cynicism. They just double down on their belief in the original lie—and in the figure who propagates the lies.

Teaching the Art of Judgment

Here’s the text of a short essay of mine published in the most recent issue of PMLA. (My apologies for some of the funky formatting.)

As a teacher, I have no right to tell my students how to vote or what
religion to practice. I don’t see that telling them to prefer Mrs.
Dalloway to The Da Vinci Code is any different. My job is to enhance
my students’ abilities to judge, not present authoritative judgments to
them.(1) Any student, even one in kindergarten, has already developed
preferences, even if the reasons for those preferences are mostly
inchoate. Articulating those reasons—submitting them to scrutiny
through public conversation—should be one aim of aesthetic educa-
tion. In this essay, I consider what teaching the art of judgment
entails. Working from and through the example of an aesthetic object
is particularly effective in leading students to understand the processes
of judgment formation and to consider the bases of their own
judgments.

Traditionally, judgment names the ability to recognize the full
nature and import of something encountered in experience. Thus,
the teacher is aiming to enhance powers of apprehension. But appre-
hension bleeds inevitably into selection. One chooses to spend time
with this object, experience, or person, not that one. Criticism, the
articulated response to the encounter with an aesthetic object, is
often thought to invariably involve a judgment about whether that
object is any good. Statements like “Uncle Tom’s Cabin is better
than Moby-Dick” litter works of aesthetic theory from David Hume
on despite being just about meaningless absent the specification of
criteria. Particular qualities, contexts of use, and purposes must
underwrite any judgments of worth—and those criteria simply are
assumed to be held in common with others when blanket statements
of value are offered. That readers in 1856 would have preferred
Stowe’s novel to Melville’s, while “settled opinion” by 1956 gave the
palm to Moby-Dick, tells us about revaluations of sentimentalism,
of direct versus indirect political rhetorics, and of melodrama, not about something eternally true.

So it is not a question of reaching the right judgments of value, but
of understanding what underwrites particular judgments of value.

Crucial to any evaluation of an object is the ability to discern its features and its relation to me and
others who encounter it. Just what is this thing and how does it move its potential audiences? Judgment
thus names both the power of discernment, the capacity to apprehend the thing in all its multitudi-
nous variety and complexity, and a similar capacity to discern the complexities of my responses to it—
and the responses of others. Following Hannah Arendt’s reading of Immanuel Kant’s Critique of
Judgment, I want to emphasize this last bit (hearing and understanding the responses of others)—and
take it as the foundation stone for aesthetic education.

Like Kant, Arendt distinguishes between determinative and reflexive judgments. Determinative
judgments are noncontroversial and simply involve determining the category to which something
belongs. Speakers of the same language rarely dispute whether something is a chair or a sofa.
Judging whether this thing I sit on is one or the other is obvious. Reflexive judgments, however,
are disputable. What a chair indicates about the personality of its owner is not immediately apparent—
and will generate varying judgments. A case will have to be made to my interlocutors about the
owner’s love of luxury or, alternatively, the owner’s austere puritanism. Even more dramatically, my
encounter with the chair and my articulation of its relation to personality may lead to my re-forming
my understanding of the very category of personality and its entanglements with objects. Kant’s pri-
mary example of a category that can be re-formed in this way is “beauty.” One might argue that a pain-
ter like Vincent van Gogh transformed the category of “beauty” in Western art.

That Van Gogh did not live to see that transformation indicates the crucial fact that categories
are communal and intersubjective, not personal. Only in the dialogue with others do judgments
acquire any stability. This fact underwrites Arendt’s distinctive understanding of “the world.” Judgment involves an assertion of what a thing is, of what it can be seen as, but also what its singular character-
istics are. Uncle Tom’s Cabin and Moby-Dick are both novels that revise our sense of what novels
can be and do. They are also distinctive individual works that call for detailed descriptions of their sin-
gularity. Judgment is much less about seeing one as “better” than the other than about understanding
each novel’s peculiar characteristics and virtues—and the distinctive ways they have moved some
readers and failed to interest other readers at all.

Such categorizations and characterizations become significant, constituting a world of things
and situations that transcends the self, only when ratified in conversation with others. We constitute
a world that becomes our “common sense” (Kant’s sensus communis).

Arendt writes:

[N]o one can adequately grasp the objective world in
its full reality all on his own, because the world
always shows and reveals itself to him from only
one perspective, which corresponds to his standpoint
in the world and is determined by it. If someone
wants to see and experience the world as it “really”
is, he can do so only by understanding it as some-
thing that is shared by many people, lies between
them, separates and links them, showing itself differ-
ently to each and comprehensible only to the extent
that many people can talk about it and exchange
their opinions and perspectives with one another,
over against one another. Only in the freedom of
our speaking with one another does the world, as
that about which we speak, emerge in its objectivity
and visibility from all sides. Living in a real world
and speaking with one another about it are basically
one and the same. . . . (“Introduction” 128–29).

It is only through talk with others that anyone can achieve the “enlarged” or “broadened” viewpoint
that Kant recommends in his discussion of “sensus communis”: “a power to judge that in reflecting
takes account in our thought of everyone else’s way of presenting” something (442). Judgment,
Arendt insists, is social through and through. “One judges always as a member of a community”
(Lectures 75), and the practice of judgment estab-
lishes the “sociality” that Kant calls humanity’s “highest end” (73). The key Kantian concept here is
“communicability”: “Communicability obviously depends on the enlarged mentality; one can com-
municate only if one is able to think from the other person’s standpoint; otherwise one will
never meet him, never speak in such a way that he understands” (74). Sensus communis, our living in
a world of shared objects, is constituted through communication.

Aesthetic objects offer an almost perfect laboratory for experimenting with communicating one’s
opinions and discernments with others who aredoing the same. Sociological phenomena, historical
events, and philosophical arguments can also serve to develop powers of judgment through practice.
The advantage of using the aesthetic object as an example to teach judgment is its materiality (it can
be physically present to all participants in the dialogue) and its relative boundedness compared with
other possible examined objects. Most importantly, the aesthetic object (almost invariably) is itself a
communicative act. It is already trying to get its audience to see things in a certain way, to direct
the audience’s attention in a particular direction. Thus, students all have their eyes turned toward an
object that confronts each of them—and that is directly aiming to elicit a response from them. The
students can be immediately set the task of describing what this thing is—and learn together just how
differently an object can be viewed and just how detailed a comprehensive description (of an object
and of responses to it) can be. In this way, the encounter with aesthetic objects dramatizes the whole
process of judgment. Students have a particular response (intense or not) to an object—and then
test that response in dialogue with others’ responses to the same object. Examples get the whole operation
moving; they are, Arendt translates Kant as saying, “the go-carts of judgment” (Lectures 84).

The teacher, familiar with the history of responses to particular works and knowledgeable
about the kinds of questions that get asked about aesthetic objects, guides the dialogue, pushing stu-
dents to become more aware of and more articulate about their somewhat inchoate responses. Students
are being led on the “taste journeys” that MarkWollaeger describes as part of his classroom
practice.

The student is called upon “‘to give an account’—not to prove, but to be able to say how
one came to an opinion and for what reasons one formed it” (Arendt, Lectures 41). In this give-and-
take of asking for responses and reasons or grounds for those responses, one cannot compel agreement.
As Arendt puts it, “one can only ‘woo’ or ‘court’ the agreement” of others (72). Reciprocally, others’
comments may lead one to see aspects of the object or experience that had been missed. Superb critics
light up something, make us apprehend it in new ways that feel enlarging, enriching, and enlighten-
ing. The world emerges, moves from black and white into color, through these dialogic exchanges.

Arendt’s link between the dialogic practices of judgment and a robust democratic polity has been
most full explored by Linda M. G. Zerilli. She presents judging “as a democratic world-building prac-
tice that creates and sustains . . . the common space in which shared objects of judgment can appear in
the first place” (xiii). Following Arendt, Zerilli adopts a language of “loss” to describe our contem-
porary predicament. We are witnessing “the radical shrinkage of a public space in which various per-
spectives can attest to the existence of a common object” (36). I subscribe to the notion that the
dialogic classroom provides a model for the kinds of exchanges essential for a vibrant democracy. But
our current inability to create a common world—exemplified by the drastically different perspectives
on the COVID-19 pandemic and the 2020 US presidential election—seems less the result of a shrunken public sphere than the consequence of more voices being included. It is easy to have a common world
emerge when all the communicants are mostly cut from the same cloth.

It would be naive to believe that developing powers of judgment through dialogue could close
the rifts in a deeply divided society. The question of how much members of a society must agree on
to avoid civil war has an empirical answer. But a peaceful transition of power (to take just one
charged example) relies on some consensus about the legitimacy of the rules of the game. Zerilli is, I

think, right when she says that “to bring someone to share my judgment . . . must be a matter of getting
the person to see what I see, to share, that is, my affective response” (54). Arendt’s gambit is that par-
ticipation in processes of judgment will foster a particular sensibility—one that recognizes that I live
with others and that both my individuality and the world itself emerge and flourish through association
and communication with those others. Absent that sensibility, democracy is in peril. Linking aesthetic
education to democracy means hoping that the practice of judgments fosters such a sensibility.
Hope comes with no guarantees, but the absence of dialogic habits spells trouble.

The dialogic classroom stands as an example of a democratic way of being in the world, and the aes-
thetic object provides an occasion for practicing judgment. It is worth considering why working
through examples is a useful way to teach the art of judgment.

First, examples avoid the abstraction and generality of giving reasons for judgment. The example
gets us into the territory of affective response, of detailed engagement with the object. It is fairly com-
mon to link the aesthetic to the particular; aesthetic objects (at least since 1750 in the West, an important
qualification) aspire to originality, to uniqueness. To discern the features of an aesthetic object—and
the qualities of my response to it—means paying attention to the fine-grained details of this experi-
ence in all its dimensions. When my experience of the object shifts because of hearing others’ responses
to it or under the pressure of articulating my own responses, the holism that a word like sensibility
evokes comes into play. How the object “moves” me is the question, not simply how to describe its
defining features. It is that holism that advocates of aesthetic education often think justifies its place
in the curriculum.

The second reason to resort to examples leads to difficult issues about the relation of autonomy to
sociality in democratic polities. The route to one’s formed sensibility (of course never fully formed,
but still more solidly established and resistant to change at thirty than at sixteen) is, as Arendt’s
account of judgment would suggest, through one’s relation to others. Humans are imitative creatures.
Especially at first, we adopt the attitudes, tastes, habits, and beliefs of those we admire, of those
who seem to be the beings we would like to be ourselves. Other humans stand as examples to us of
ways of being in the world. The teacher (or peers) probably influences us more by the persona they
project than by any reasons offered up in dialogue. I came (at least at first) to love classical music less
through its intrinsic qualities and virtues than because certain people I admired clearly thought
there was something to it. Reasons are not utterly negligible, but we risk missing the full dynamic of
judgments of taste if we neglect questions of charisma, of admiration, of a desire to be more like
someone else. Perhaps judgment is clouded when influenced by others one admires, but any account
of judgment is deficient if it doesn’t take such influences into account.

In the classroom, I think it prudent to make the effects of charisma explicit—not to purge them (an
impossible task) but to highlight the extent to which one’s judgments entail attachments to certain ways of
being in the world. Judgments are invariably about value; discernment involves assessments of whether
this object, person, desire, ambition is worthy of sustained attention or is to be left aside in favor of
other pursuits. The teacher’s job is to give students the capacity to make such judgments by opening
up the terrain on which judgments are made—and providing as detailed a map of that territory as
feasible.

Respecting and attempting to foster my students’ autonomy seem to me absolute responsibili-
ties. Democracy rests on the assertion that each person has the right to make judgments on their
own. The tricky part is to fully acknowledge (as I have been arguing) that judgment requires partici-
pation in a community, where reasons are offered, opinions expressed, and ways of being in the world
(living out one’s beliefs and tastes and moral sensibility) displayed. But one’s judgments are not to be
dictated by authoritative leaders or some kind of majority rule. Arendt’s entire attempt to work out
an account of judgment was a response to her experience of totalitarian society. Arendt had witnessed

a world in which a set of shared moral convictions about murder and decency “collapsed almost over-
night, and then it was as though morality suddenly stood revealed in the original sense of the word, as
a set of mores, customs, and manners, which might be exchanged for another set with hardly more trou-
ble than it would take to change the table manners of an individual or a people” (“Some Questions” 50).
The process of forming a judgment cannot become simply an adoption of prevailing beliefs or preju-
dices, or parroting the views of others. It should aim instead to establish one’s own convictions,
one’s own way of living in the world.

But autonomy, Arendt always insists, must be tempered with the recognition that I live in a world
also occupied by others. To learn that I am not alone in the world is an important lesson, absolutely nec-
essary, and as such underwrites the requirements to take the viewpoints of others into consideration
when forming my own convictions. And the ethics of sociality require communicability, of explaining
myself to myself and to others. There remain, however, duties to the self, ones Arendt saw dissolve in
front of her eyes in the 1930s. Balancing these two sets of responsibilities is no easy task, with no set
formulas or methods for success. But continual engagement in dialogue with others seems essential
to any effort to cultivate both. Democratic education (and this essay tries to enlist aesthetic education to
that cause) fosters the realization that individual style and opinions develop in association with oth-
ers, not in opposition to them. This does not take the sting out of various disagreements, but it does
provide a basic acknowledgment not only that others have an equal right to be here but that there is
no world and no self unless those others are here. We might call this “the democratic demand,” the
ethical imperative embedded in efforts to teach the art of judgment.

The example stands as a singular instance even as it also indicates possible ways forward, offering an
instantiation of certain choices guided by judgment.(2) As such it bridges singularity and sociality.
Kant’s comments on the use of examples in teaching capture the tricky balancing act in question. In the
arts (as contrasted to the sciences), what we want the student to learn “cannot be couched in a formula
and serve as a precept. . . . Rather, the rule must be abstracted from what the artist has done, i.e. from
the product, which others may use to test their own talent, letting it serve them as their model,
not to be copied but to be imitated. How that is possible is difficult to explain” (177). No kidding. That’s
why aesthetic educators are always on the defensivein a world determined to devise pedagogical
methods and measures. In the biology lab, you want students to produce exactly the same results.
In the literature classroom, you want students to produce their own distinctive responses to the works
they read, not to find their way to exactly the same conclusions. Aesthetic educators are not offering
recipes that result in a standardized product, but are (instead) trying to activate the distinctive talents
and sensibilities of each of their students. Seeing how others have done it provides a model, an
example. But imitating the model (to use Kant’s distinction between copying and imitating) entails
grasping the point of the enterprise (an engagement with the materials and situation at hand and a will to
communicate the particulars of that engagement to others) and attempting a similar enterprise on one’s
own behalf.

I think Kant’s emphasis on “abstracting a rule” from the example is misguided, but it highlights the
tensions at play. Not anything goes. “Since nonsense too can be original, the products of genius must also
be models, i.e. they must be exemplary” (175). The example communicates; it is not utterly trapped
in idiosyncratic, ineffable singularity, but speaks to others, displays a sensibility and its encounter with
the nonself. The aesthetic educator is trying to foster some kind of individual autonomy through
the examination of individual responses to what the world offers, responses tested against the ability
to communicate them. Autonomy and sociality develop as I see how others respond to my views
and also how those others respond to encounters with similar (or even identical) objects or situations.

Aesthetic education, in particular, seems suited to this effort to help students come into their own, to
discover their own voices and convictions, while remaining in touch with others. The means are the

public (through dialogue) testing of attitudes and beliefs. The thoroughness and persuasiveness with
which students communicate their views are the criteria of assessment—and what the teacher sets out to
cultivate—not specific content. Examples can give a sense of what can be accomplished in communication,
in a thorough and spirited presentation to others.

NOTES
1. See Clune for a spirited argument that “expert aesthetic judg-
ment” (2) deployed in the classroom can “carve out a space beyond
the reach of market valuation” (3) in such a way that “aesthetic edu-
cation sets up a material barrier to market totalitarianism” (4). My
account of judgment in this essay both overlaps and disagrees with
Clune’s work in ways too complex to detail in this short space.

2. See Klinger for a detailed account of how judgment works in
the production of the individual instance.

WORKS CITED

Arendt, Hannah. “Introduction into Politics.” The Promise of
Politics, edited by Jerome Kohn, Schocken Books, 2005, pp.
93–200.

———. Lectures on Kant’s Political Philosophy. U of Chicago P,
1982.
———. “Some Questions of Moral Philosophy.” Responsibility and
Judgment, edited by Jerome Kohn, Schocken Books, 2003, pp.
49–146.

Clune, Michael W. A Defense of Judgment. U of Chicago P, 2021.

Kant, Immanuel. Critique of Judgment. Translated by by Werner
S. Pluhar, Hackett, 1987.

Klinger, Florian. “To Make That Judgment: The Pragmatism of
Gerhard Richter.” Judgment and Action: Fragments toward a
History, edited by Vivasvan Soni and Thomas Pfau,
Northwestern UP, 2018, pp. 239–68.

Wollaeger, Mark. “Taste, Value, and Literary Aesthetics.”American Comparative Literature Association conference,
2021.

Zerilli, Linda M. G. A Democratic Theory of Judgment. U of Chicago P. 2016.

Judgment

My judgment questions are many. I am interested in whether there are percepts without concepts. You might say that is the Kantian question at its core. When we perceive something, are we also, simultaneously, “categorizing” it? Linda Zerilli and Suzanne Langer (and Nelson Goodman? and Brian Massumi?), among the people I have been reading recently, seem to take the Kantian view. Odd in Langer and Goodman’s cases because they are so interested in music, which is usually taken as an instance of non-conceptual perception. But Langer (at least) wants to claim their are non-discursive, non-representational concepts (or symbols).

Part of my problem is that I don’t really see what’s at stake. And I also don’t see how one would determine what is actually the case. I see twelve different shades of blue and can distinguish between them. I can certainly identify them all as instances of “color,” and even as shades of “blue.” But I haven’t got any clear designations for the twelve different shades even I as can see–and even recall–the distinctions among them. Something similar holds for tastes, where the general terms of “sweet,” “bitter,” and the like are obviously inadequate to the subtleties I can perceptually register. But: so what? What follows of significance in relation to anything we want to know about?

So that’s one puzzle. Another is that the term “judgment” gets used to cover a multiple of gaps in various accounts of cognition. Discussions of judgment tend to veer from judgment as 1)determinate in Kant’s sense: that is a tree; 2) indeterminate in Kant’s third critique sense; 3) assessments (is that a good tree or a good novel)–Michael Clune is interested in that kind of judgment; and 4) assessments of what it is possible and/or good to do in these circumstances (phronesis)–which then runs into distinctions between individual judgments and collective (democratic?) judgments.

In cases, 2 and 4, the imagination tends to get invoked. In cases, 3 and 4 (at least) judgment seems to entail questions of value. So I feel like there’s a swamp there I am getting sucked into.

And all this is doesn’t even get to things like moral judgments or legal judgments.

Or to Arendt’s attempt to turn judgment into a way that the sensus communis gets enacted and reinforced, thus maintaining a common world. Her basic idea, I think, is this: we as a community discuss whether a Picasso painting is beautiful or sublime or some other set of more nuanced terms. The discussion establishes from the start the existence of that painting as an object in our common world. We are connected by our shared focus on that same thing. And then as the discussion proceeds, certain adjectives (qualities) of that thing also get held in common–that it depicts a guitar, that its style is Cubist, that it stands in contrast to more “realistic” kinds of painting–as elements of general (if not unanimous) agreement. There will still be plenty of things for us to disagree with and differing interpretations of the painting and differing judgments of whether one likes it or finds it significant etc. But we will be held together by the things we do agree on, the world that (in Arendt’s terms) exists between us, bringing us into relation with one another. Our actions both shift our relations to the others with whom we share a world–and contribute to that world’s “reality,” it persistence over time as the “in-between” which we occupy with others.