instead of mak-ing a generalized statement to summarize the entire sentence, the subjectcarefully attempts to interpret each successive clause. He is interested inthe details of the setting, stating that the setting is in London and then try-ing to find a reason why so many people would be “slipping and sliding”on the road.
But there is not only understanding involved in this, but also "taste" specific to a group and cultural "class".
nyam-nyi
for - definition - nyam-nyi - when form ad emptiness are both experienced as one taste (nonduality) - from Medium article - Heart Sutra and the nyams of Dzogchen - Aleander Vezhnevets - 2022, Sept 7
the one thing I can't teach is taste, and the one predictor I have of the people who will never develop it are
for - quote - taste - who can't develop it - perfectionists - key insight - finding our own unique voice - adjacency - creativity - learning from others - synthesis
quote - taste - who can't develop it - (see below)
comment - We we are overly dependent on others - it becomes difficult to develop our own - taste or - style - To develop our own unique taste is a balancing act - we are influenced by others by digesting the work of others - but then we must synthesize our own unique expression out of that - A useful metaphor is tuning a string - too loose and it can't work - neither if it is too tight - it snaps
adjacency - between - creativity - learning from others - synthesis - adjacency statement - our creativity depends on a balance of - learning from others - synthesizing what we've learned into something uniquely ours
I can love the Beatles, and you can not, and we're both right.
for - subjectivity of taste
comment - This is why subjectivity of taste in art is not reconcilable with absolute truth - Taste is relative - There's no application of logic of right and wrong - What tastes bad to me - can taste good to you
Unlike books, tablets do not offer a medium for demonstrating taste and refinement. That is why interior decorators use shelves of books to create an impression of elegance and refinement in the room.
A recurring theme in the authors’ feedback was that Wordcraft could not stick to a single narrative arc or writing direction.
But taste is not an act—it’s an opinion.
Anthony Costello. (2022, February 24). The risks of cognitive symptoms lasting at least 12 MONTHS were much higher in the infected group. 4.8x higher for fatigue, 3.2x for brain fog, 5.3x for poor memory, and an incredible 51x for altered taste and smell. We need data on children, but it could easily be similar. (17) https://t.co/JC1qYyW2Xc [Tweet]. @globalhlthtwit. https://twitter.com/globalhlthtwit/status/1496957266016313348
Shelton, J. F., Shastri, A. J., Fletez-Brant, K., Stella Aslibekyan, & Auton, A. (2022). The UGT2A1/UGT2A2 locus is associated with COVID-19-related loss of smell or taste. Nature Genetics, 54(2), 121–124. https://doi.org/10.1038/s41588-021-00986-w
Eric Topol. (2022, January 14). Much less loss of smell and taste with Omicron, but more sore throat than with Delta https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/1046623/Technical-Briefing-34-14January2022.pdf @UKHSA symptom data from ~175,000 Omicron and ~88,000 Delta cases https://t.co/DIGRGkoXa9 [Tweet]. @EricTopol. https://twitter.com/EricTopol/status/1482029245580808192
Weir, E., Reed, D., Pepino, M. Y., Veldhuizen, M., & Hayes, J. (2021). Massively collaborative crowdsourced research on COVID19 and the chemical senses. PsyArXiv. https://doi.org/10.31234/osf.io/z36xe
Blomberg, B., Mohn, K. G.-I., Brokstad, K. A., Zhou, F., Linchausen, D. W., Hansen, B.-A., Lartey, S., Onyango, T. B., Kuwelker, K., Sævik, M., Bartsch, H., Tøndel, C., Kittang, B. R., Cox, R. J., & Langeland, N. (2021). Long COVID in a prospective cohort of home-isolated patients. Nature Medicine, 1–7. https://doi.org/10.1038/s41591-021-01433-3
Marshall, M. (2021). COVID’s toll on smell and taste: What scientists do and don’t know. Nature, 589(7842), 342–343. https://doi.org/10.1038/d41586-021-00055-6
Yom-Tov, E., Lekkas, D., & Jacobson, N. C. (2021). Association of COVID19-induced Anosmia and Ageusia with Depression and Suicidal Ideation. PsyArXiv. https://doi.org/10.31234/osf.io/qy2vu
Roland, L. T., Gurrola, J. G., Loftus, P. A., Cheung, S. W., & Chang, J. L. (2020). Smell and taste symptom‐based predictive model for COVID‐19 diagnosis. International Forum of Allergy & Rhinology, alr.22602. https://doi.org/10.1002/alr.22602
Asians favour a more crimson red than Western red
I'm really not sure what the best choice would be (I'd use sed, but that's because I don't know perl well enough.
Because keeping track of your tasks is an intensely personal thing, and people will reject anything that doesn't feel right pretty much instantly.
false Taste
What is false taste? Does this mean your taste isn't attuned to the collective, or that you are literally falsifying what you believe to be aesthetically pleasing?
every Reader has a peculiar last of Books as well as Meats.
What an odd juxtaposition.
If the work be addressed to persons of a different age or nation, he makes no allowance for their peculiar views and prejudices; but, full of the manners of his � own age and country, rashly condemns what seemed admirable in the eyes of those for whom _., alone the discourse was calculated.
So, taste becomes a way to understand what has the most mass appeal, and so helps us to understand the best way to appeal to a particular audience?
Beauty is no quality in things themselves: It exists merely in the mind which contemplatesthem;
Right--beauty is about a relationship to a thing or an opinion about a thing, not about the thing itself. Beauty has as much to do with the viewer as it does with the beautiful object. Recognizing beauty or having taste involves a network of actors in a given context. Does Hume believe that it is our job to consolidate these recognitions into one general rule for recognizing?
the proverb
It's Latin.
Of the Standard of Taste"
This reminds me of C.S. Lewis "The Taste of the Other" https://www.amazon.com/Taste-Other-Social-Ethical-Thought/dp/1573832685
So advantageous is practice to the discernment of beauty,
I originally read practice in this context as exposure, the idea that if you just study a lot of literature you'll develop a taste for the good stuff (basically the dominant model of lit studies). But now I'm wondering if Hume saw practice as actually doing the art. Like, instead of just studying poetry, I actually went out and wrote some poetry. My taste, then, would develop through a combination of external and internal experience; it would be practice of both input and output.
Taste,
I seriously thought we were talking about taste in the context of food. I mean I guess it's not unrelated.
tothevolum
The list seems to cater to taste (cf. Hume) and to variety. After visiting the newly built agora, there will be "some time of Refreshment" before moving on to legislative matters and affairs of the court; then we "may Rest [our] Selves" before hearing charitable orations, and so on. If one cares to hear something in particular, one may do so or take alternative pleasures ("if you regard not what Women say", "if you like not their Pastime").
The selections seem a carefully chosen buffet or perhaps a finely planned 10 (or whatever number)-course meal, with each element serving to compliment but also counter-point those that come before and after.
In seeing these particular examples of orations, perhaps we shall take away a sense of the general?
He offers the example of how a perfume specialist “acquires” a nose through practice interacting with an aroma training kit.
The inverse of the "Whopper Virgin" approach.
Although I would say the next few lines have a nice parallel with Canguilhem tracing how anatomical understandings of human body parts, though generally a constant of the last 6000+ years, "evolve" from new technologies that we can apply to our own bodies.
One wonders what the obvious "positive modification" ofthe military-industrial complex is.
Making a lot of money? National pride? Belief in the superiority of liberal capitalism? A historical perspective that focuses on the difficulty the American military had mobilizing in the 19th and early 20th century? A sincere fear of the outside world and belief that strong military spending can protect them?
I may be missing Vatz point, but I don't think Bitzer would define "positive modification" as an absolute unquestioned good, but that someone has to have some cause for desire. The MIC has a load of very obvious reasons behind it, reasons I might not personally agree with or be persuaded by, but it has a whole bunch of really obvious "positive modifications" that can be found.
the idea that authors imagined ideal audiences for their works and readers generally were willing to take on the role assigned to them
Could connect this with Ebert's earlier-discussed approach of rating a movie in terms of "what it's trying to be." Denies the idea of a linear continuity of quality with art, which sits at the heart of Blair's notions of taste.
The predominant feelings have by use trained the intellect to represent them.
Another connection with Blair, here. Though while Blair identifies a universal nature to attune to, Spencer sees a number of natures, but they are still naturally correct for their particular circumstance.
senses;
Much like Hume's discussion on the various forms of taste
but whether something is “reprehensible” is in the eye of the beholder.
"Taste, in the sense in which I have explained it, is a faculty common in some degree to all men." - Blair
How can we distinguish among the amusing eccentrics, the honestly misguided, the avaricious litigants, and the serious skeptics questioning a premature consensus?
"True criticism is a liberal and humane art. It is the offspring of good sense and refined taste. It aims at acquiring a just discernment of the real merit of authors." - Blair
People who believe in one conspiracy are more likely to believe in others
Like Hume's individual "prejudiced" by previous taste-making experiences?
In the course of time, the genuine taste of human nature never fails to disclose itself, and to gain the ascendant over any fantastic and cor-rupted modes of taste which may chance to have been introduced
So part of the importance of discussing taste, judging works of art, developing standards of taste and individual taste seem to tie into the project of rhetoric as we've read so far this semester: to come closer to the Truth.
employment
Hume and Blair both value exercising senses/faculties in order to develop taste, and though this seems hard to argue with, long-term employment in using your eyes or your hands can result in things like loss of vision or arthritis. Does this in anyway factor into taste? Individual taste can become refined, but can it develop in other ways, good or bad?
attending to the feelings of others
So it sounds like writing, speeches, teaching, other forms of communication are supposed to elevate individual taste or establish some sort of standard in taste.
The first question that occurs concerning it is, whether it is to be considered as an internal sense, or as an exertion of reason?
Taste is different for everyone versus taste is universal, but everyone perceives it differently?
Must we collect the voices of others, before we fonn any judgment for our-selves, of what deserves applause in eloquence or poetry?
The "voices of others"? Surely not.
True criticism is a lib-eral and humane art. It is the offspring of good sense and refined taste. It aims at acquiring a just discernment of the real merit of authors.
Surely we are urged to follow in the steps of Roger Ebert (at least when critiquing movies). To find kernels of value in artistic works, to appreciate them, to learn from them, ought that not be the goal of a critic?
We ban Tom Sawyer and Huck Finn from schools! Is there really no artistic merit of which we ought discern?
This inequality of taste among men is owing, without doubt, in part, to the different frame of their natures; lo nicer organs, and finer internal powers, with which some arc endowed beyond others.
So is he suggesting that a higher power (in his belief, as a Christian man, God) decides who has "better" taste than others? That taste is a predetermined concept controlled by the Divine?
Providence seems plainly lo have pointed out this useful purpose lo which the pleasures of taste may be applied, by interposing them in a middle station between the pleasures of sense and those of pure intellect.
According to Blair, taste is a nice mixture between emotions/feelings and reason. He also recognizes that both are important for an individual to achieve satisfaction.
that there is some foundation for the prelerencc of one man's taste to that of another, or that there is a good and a bad, a right and a wrong in taste, as in other things.
Perhaps we can link this to Campbell's idea of experience molding us and our ideas?
a person might mechanically become an orator, without any genius al all.
This is kind of a wander, but I wonder if you can run this backwards? Like, if you're looking for genius, don't look at the masterful orator, look for the girl who has lacking mechanical skill but still pulls it off. It won't be top-tier work, but she's able to demonstrate a natural attention to the universe's current of Eloquence.
hear-ers
Kind of connecting this section with our microresponse prompt. Taste would be rhetorical in that the taste of the audience would determine how an orator would appeal to an audience and how that audience would respond to the orator.
comparison
How one develops his/her taste, in addition to practice. Comparison is the next step to achieving superior "taste."
Moreover, Blair enacts Hume's argument that good taste, based as it is on experience, can be learned.
Again, this begs the question, "What is good taste, really?"
Such people can provide us with the standards for criticism.
But who determines those who have a superior taste? I assume knowledge has much to do with it, but diverse cultural backgrounds lead to different views of what is considered "tasteful." Two individuals could be equally educated in the same field and have wildly different standards of what is tasteful based solely on their background, culture, etc. Interesting to note that their rhetorical environment influences the way in which they think, albeit not actively, about societal standards and values.
It is evident that none of the rules of composi-1 l tion are fixed by reasonings a priori,
They are, in other words, not black boxes.
Standard of Taste
This is the black box that Hume hopes to unpack.
since one man's complex idea seldom agrees with another's, and often differs from his own-from that which he had yesterday, or WilJ have tomorrow
Links to Hume on taste.
beaded bubbles
Strange, distilled and aged wines do not normally have bubbles formed once poured. The only thing I can think of that would be like a wine and bubbles is champagne. Is this intentionally added?
a beaker full of the warm South
French wine I would assume, it would be something relate back to the "vintage" he mentions that is from somewhere South of England notable for its wine. So he is drunk currently.
Tasting of Flora and the country green
To taste like "Flora" or "country green" I think of how a strong smell can have a taste sit at the back of your mouth. I would not expect either of these to taste very good, at the most bitter. Perhaps that connects to the alcohol of the wine.
hemlock I had drunk