Essays
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- Programming Bottom-Up - Страница 1
- Lisp for Web-Based Applications - Страница 3
- Beating the Averages - Страница 6
- Java's Cover - Страница 12
- Being Popular - Страница 14
- Five Questions about Language Design - Страница 24
- The Roots of Lisp - Страница 28
- The Other Road Ahead - Страница 29
- What Made Lisp Different - Страница 44
- Why Arc Isn't Especially Object-Oriented - Страница 45
- Taste for Makers - Страница 46
- What Languages Fix - Страница 52
- Succinctness is Power - Страница 53
- Revenge of the Nerds - Страница 57
- A Plan for Spam - Страница 65
- Design and Research - Страница 72
- Better Bayesian Filtering - Страница 76
- Why Nerds are Unpopular - Страница 82
- The Hundred-Year Language - Страница 90
- If Lisp is So Great - Страница 97
- Hackers and Painters - Страница 98
- Filters that Fight Back - Страница 105
- What You Can't Say - Страница 107
- The Word "Hacker" - Страница 114
- The Python Paradox - Страница 117
- Great Hackers - Страница 118
- The Age of the Essay - Страница 125
- What the Bubble Got Right - Страница 131
- Bradley's Ghost - Страница 136
- Made in USA - Страница 137
- What You'll Wish You'd Known - Страница 140
- How to Start a Startup - Страница 147
- A Unified Theory of VC Suckagepad - Страница 159
- Undergraduation - Страница 161
- Writing, Briefly - Страница 166
- Return of the Mac - Страница 167
- Why Smart People Have Bad Ideas - Страница 169
- The Submarine - Страница 173
- Hiring is Obsolete - Страница 177
- What Business Can Learn from Open Source - Страница 183
- After the Ladder - Страница 189
- Inequality and Risk - Страница 190
- What I Did this Summer - Страница 194
- Ideas for Startups - Страница 198
- The Venture Capital Squeeze - Страница 203
- How to Fund a Startup - Страница 205
- Web 2.0 - Страница 217
- How to Make Wealth - Страница 222
- Good and Bad Procrastination - Страница 233
- How to Do What You Love - Страница 236
- Are Software Patents Evil? - Страница 242
- The Hardest Lessons for Startups to Learn - Страница 248
- How to Be Silicon Valley - Страница 255
- Why Startups Condense in America - Страница 260
- The Power of the Marginal - Страница 267
- The Island Test - Страница 275
- Copy What You Like - Страница 276
- How to Present to Investors - Страница 278
- A Student's Guide to Startups - Страница 282
- The 18 Mistakes That Kill Startups - Страница 290
- Mind the Gap - Страница 297
- How Art Can Be Good - Страница 305
- Learning from Founders - Страница 310
- Is It Worth Being Wise? - Страница 311
- Why to Not Not Start a Startup - Страница 316
- Microsoft is Dead - Страница 324
- Two Kinds of Judgement - Страница 326
- The Hacker's Guide to Investors - Страница 327
- An Alternative Theory of Unions - Страница 336
- The Equity Equation - Страница 337
- Stuff - Страница 339
- Holding a Program in One's Head - Страница 341
- How Not to Die - Страница 344
- News from the Front - Страница 347
- How to Do Philosophy - Страница 350
- The Future of Web Startups - Страница 357
- Why to Move to a Startup Hub - Страница 362
- Six Principles for Making New Things - Страница 364
- Trolls - Страница 366
- A New Venture Animal - Страница 368
- You Weren't Meant to Have a Boss - Страница 371
How Art Can Be Good
I grew up believing that taste is just a matter of personal preference. Each person has things they like, but no one's preferences are any better than anyone else's. There is no such thing as good taste.
Like a lot of things I grew up believing, this turns out to be false, and I'm going to try to explain why.
One problem with saying there's no such thing as good taste is that it also means there's no such thing as good art. If there were good art, then people who liked it would have better taste than people who didn't. So if you discard taste, you also have to discard the idea of art being good, and artists being good at making it.
It was pulling on that thread that unravelled my childhood faith in relativism. When you're trying to make things, taste becomes a practical matter. You have to decide what to do next. Would it make the painting better if I changed that part? If there's no such thing as better, it doesn't matter what you do. In fact, it doesn't matter if you paint at all. You could just go out and buy a ready-made blank canvas. If there's no such thing as good, that would be just as great an achievement as the ceiling of the Sistine Chapel. Less laborious, certainly, but if you can achieve the same level of performance with less effort, surely that's more impressive, not less.
Yet that doesn't seem quite right, does it?
AudienceI think the key to this puzzle is to remember that art has an audience. Art has a purpose, which is to interest its audience. Good art (like good anything) is art that achieves its purpose particularly well. The meaning of "interest" can vary. Some works of art are meant to shock, and others to please; some are meant to jump out at you, and others to sit quietly in the background. But all art has to work on an audience, and—here's the critical point—members of the audience share things in common.
For example, nearly all humans find human faces engaging. It seems to be wired into us. Babies can recognize faces practically from birth. In fact, faces seem to have co-evolved with our interest in them; the face is the body's billboard. So all other things being equal, a painting with faces in it will interest people more than one without. [1]
One reason it's easy to believe that taste is merely personal preference is that, if it isn't, how do you pick out the people with better taste? There are billions of people, each with their own opinion; on what grounds can you prefer one to another? [2]
But if audiences have a lot in common, you're not in a position of having to choose one out of a random set of individual biases, because the set isn't random. All humans find faces engaging—practically by definition: face recognition is in our DNA. And so having a notion of good art, in the sense of art that does its job well, doesn't require you to pick out a few individuals and label their opinions as correct. No matter who you pick, they'll find faces engaging.
Of course, space aliens probably wouldn't find human faces engaging. But there might be other things they shared in common with us. The most likely source of examples is math. I expect space aliens would agree with us most of the time about which of two proofs was better. Erdos thought so. He called a maximally elegant proof one out of God's book, and presumably God's book is universal. [3]
Once you start talking about audiences, you don't have to argue simply that there are or aren't standards of taste. Instead tastes are a series of concentric rings, like ripples in a pond. There are some things that will appeal to you and your friends, others that will appeal to most people your age, others that will appeal to most humans, and perhaps others that would appeal to most sentient beings (whatever that means).
The picture is slightly more complicated than that, because in the middle of the pond there are overlapping sets of ripples. For example, there might be things that appealed particularly to men, or to people from a certain culture.
If good art is art that interests its audience, then when you talk about art being good, you also have to say for what audience. So is it meaningless to talk about art simply being good or bad? No, because one audience is the set of all possible humans. I think that's the audience people are implicitly talking about when they say a work of art is good: they mean it would engage any human. [4]
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