After the Avant-Gardes

21. Lorand uses this to refer to beauty and not to aesthetic experience in general.
    See Ruth Lorand, Aesthetic Order, Oxford: Routledge, 2000.


22. For more on this important point, see Nelson Goodman, Languages of Art. An
    Approach to a Theory of Symbols (Indianapolis: Hackett, 1976), esp. 244–265.


23. De Profundis(Mineola: Dover, 1996), 74.


24. Geertz, “Art as a Cultural System,” 1496.


25. See especially Hans-Georg Gadamer, Truth and Method.


26. See John Dewey, Art as Experience.


27. In Richard Shusterman, “The End of Aesthetic Experience,” Journal of
    Aesthetics and Art Criticism55:1 (Winter 1997), 29–41, at 33. Shusterman provides an
    excellent account of the role that aesthetic experience has played in shaping philosoph-
    ical conceptions of art, discussing in great detail the criticisms leveled against the strat-
    egy of privileging aesthetic experience.


28. Ibid., 39.


29. Ibid., 30.


30. Ibid., 38.


31. Mill himself never mentions a harm principle; the term was coined by Joel
    Feinberg. See Harm to Others (Oxford University Press, 1987).


32. J.S. Mill, On Liberty and Other Writings, edited by Stefan Collini (Cambridge
    University Press, 1989), 102–03.


33. “It is not by wearing down into uniformity all that is individual in themselves,
    but by cultivating it and calling it forth, within the limits imposed by the rights and
    interests of others, that human beings become a noble and beautiful object of contem-
    plation; and as the works partake the character of those who do them, by the same
    process human life also becomes rich, diversified, and animating, furnishing more
    abundant aliment to high thought and elevating feelings and strengthening the tie
    which binds every individual to the race, by making the race infinitely better worth
    belonging to” (Ibid., 63).


34. On Liberty, 68


35. Ibid., 82.


36. With thanks to participants in the Hegeler-Carus Foundation Arts Colloquium,
    held in La Salle, Illinois, March 28th–30th, 2003, and to the members of the Bernard
    Weiniger Jewish Community Center, Lakeside Congregation, Highland Park, Illinois, who
    heard a version of this paper on November 21st, 2005, and provided excellent feedback.


37. What Shall We Do After Wagner? Karl Popper
    on Progressivism in Music


38. Amongst many possibilities we might mention Jim Samson’s Music in
    Transition: A Study of Tonal Expansion and Atonality 1900–1920, Dent, 1977 as an
    example of a technical history, and Christopher Butler’s Early Modernism: Literature,
    Music, and Painting in Europe 1900–1916, Oxford University Press, 1994 as a book
    more inclined towards social history.


39. Unended Questis included in The Philosophy of Karl PopperVol. I, ed. by Paul
    A. Schilpp, Open Court, 1974. The following summary of Popper’s ideas on music is
    drawn from pp. 41–57 of this work unless otherwise stated. Popper’s critique of histori-
    cism appears principally in The Open Society and its Enemiesand The Poverty of

Notes to Pages 83–98 211