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The Pragmatics of Aesthetic Assessment in
                Conversation


       Saul Albert & Patrick G.T. Healey


          Queen Mary University of London

             saul.albert@eecs.qmul.ac.uk

             pat.healey@eecs.qmul.ac.uk




                  19/09/2012
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: D'yuh li:ke it?
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: D'yuh li:ke it?
       (...)
       .
    D: hhh Well I don't  I'm not a great fan of this
       type of a:rt.
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: D'yuh li:ke it?
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: D'yuh li:ke it?
        .
    D:    hhh Yes I do like it=
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: D'yuh li:ke it?
        .
    D:    hhh Yes I do like it=
    D: =although I rreally::=
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: D'yuh li:ke it?
        .
    D:    hhh Yes I do like it=
    D: =although I rreally::=
Evaluation of    A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: D'yuh li:ke it?
        .
    D:    hhh Yes I do like it=
    D: =although I rreally::=

         (...)
         .
    D:    hhh Well I don't  I'm not a great fan of this
         type of a:rt.
Evaluation of    A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: D'yuh li:ke it?
        .
    D:    hhh Yes I do like it=
    D: =although I rreally::=
    C: =Dju make it?

         (...)
         .
    D:    hhh Well I don't  I'm not a great fan of this
         type of a:rt.
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    C: =Dju make it?
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    C: =Dju make it?
                                          .
    A: No We bought it, It's a                hh a Mary Kerrida print.
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    C:   =Dju make it?
                                  .
    A:   No We bought it, It's a    hh a Mary Kerrida print.
    D:   0:h (I k-)=
    A:   =Dz that make any sense to you?
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    C:   =Dju make it?
                                  .
    A:   No We bought it, It's a    hh a Mary Kerrida print.
    D:   0:h (I k-)=
    A:   =Dz that make any sense to you?
    C:   Mn mh. I don' even know who she is.
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    C:   =Dju make it?
                                  .
    A:   No We bought it, It's a    hh a Mary Kerrida print.
    D:   0:h (I k-)=
    A:   =Dz that make any sense to you?
    C:   Mn mh. I don' even know who she is.
    A:   She's that's, the Sister Kerrida, who,
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    C:   =Dju make it?
                                  .
    A:   No We bought it, It's a    hh a Mary Kerrida print.
    D:   0:h (I k-)=
    A:   =Dz that make any sense to you?
    C:   Mn mh. I don' even know who she is.
    A:   She's that's, the Sister Kerrida,[ who,
                                            .
    D:                                        hhh
    D:   Oh that's the one you to:ld me you bou:ght.=
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    C:   =Dju make it?
                                   .
    A:   No We bought it, It's a     hh a Mary Kerrida print.
    D:   0:h (I k-)=
    A:   =Dz that make any sense to you?
    C:   Mn mh. I don' even know who she is.
    A:   She's that's, the Sister Kerrida,[ who,
                                             .
    D:                                         hhh
    D:   Oh [that's the one you to:ld me you bou:ght.=
    C:        Oh
    A:                                        Ye:h
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    C:   =Dju make it?
                                   .
    A:   No We bought it, It's a     hh a Mary Kerrida print.
    D:   0:h (I k-)=
    A:   =Dz that make any sense to you?
    C:   Mn mh. I don' even know who she is.
    A:   She's that's, the Sister Kerrida,[ who,
                                             .
    D:                                         hhh
    D:   Oh [that's the one you to:ld me you bou:ght.=
    C:        Oh
    A:                                        Ye:h
    D:    [  Ya:h.
    A:      Right.
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    C:   =Dju make it?
                                   .
    A:   No We bought it, It's a     hh a Mary Kerrida print.
    D:   0:h (I k-)=
    A:   =Dz that make any sense to you?
    C:   Mn mh. I don' even know who she is.
    A:   She's that's, the Sister Kerrida,[ who,
                                             .
    D:                                         hhh
    D:   Oh [that's the one you to:ld me you bou:ght.=
    C:        Oh
    A:                                        Ye:h
    D:    [  Ya:h.
    A:      Right.
         (1.0)
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: Right.
       (1.0)
    A: It's worth something,
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: Right.
       (1.0)
    A: It's worth something,
       (1.0)
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: Right.
       (1.0)
    A: It's worth something,
       (1.0)
    A: There's only a hundred of'm
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: Right.
       (1.0)
    A: It's worth something,
       (1.0)
    A: There's only a hundred of'm
       (0.5)
    D: Hmm
       (...)
Evaluation of   A's   new artwork   (JS:I. -1) (Pomerantz, 1984)


    A: D'yuh li:ke it?
       (...)
    D: Yih d-know why I don't go fer this type of uh:
       art, Becuz it it strikes me ez being the
       magazine adverti:sement ty:pe. Which some
       uh-uh some a' them are really great. But tuhm
       I-my, taste in art is for the more uhit-t-treh-
       it tends tuh be realistic.
Parameter shifts in this evaluation:




       the authorship of the print,

       the fame of the author (to co-participants),

       the monetary value of the print,

       the scarcity of the print,

       prior knowledge of the purchase and its authorship

       the correct spelling of the word Life in the print

       the degree to which the print is realistic, and

       the degree to which the print resembles a magazine advert.
Conventional approaches to aesthetics
Conventional approaches to aesthetics




       Physical qualities of objects (Greenberg, 1939),
Conventional approaches to aesthetics




       Physical qualities of objects (Greenberg, 1939),

       historical context (Kristeller, 1951),
Conventional approaches to aesthetics




       Physical qualities of objects (Greenberg, 1939),

       historical context (Kristeller, 1951),

       institutional context (Dickie, 1984),
Conventional approaches to aesthetics




       Physical qualities of objects (Greenberg, 1939),

       historical context (Kristeller, 1951),

       institutional context (Dickie, 1984),

       social/interpersonal relations (Bourriaud, 2002).
Conventional approaches to aesthetics




       Physical qualities of objects (Greenberg, 1939),

       historical context (Kristeller, 1951),

       institutional context (Dickie, 1984),

       social/interpersonal relations (Bourriaud, 2002).


   (Corris, 2006)

   Such social eects are generally demonstrated rhetorically.
Sister Corita Kent's Life
A conversation about Jackson Pollock

Mark      Last time I went to the unclear was the school one pause
Unknown   Went to the Royal Academy when I was doing my 'O' Levels,
          unclear pause it was a Jackson follow up it was about,
          ambulance was about twelve foot by twelve foot, it was literally
          splodges of paint all over the fucking place, it was horrible,
          unclear you can actually buy them at the Royal Academy, you
          can't buy them at unclear, but he was asking a hundred thousand
          pounds for it, I couldn't believe it, a trained monkey could of
          fucking painted that pause unclear
Mark      Well that, it probably is.
Stuart    Jackson unclear is a monkey at London Zoo.
Mark      All you have to do is get one mug buy it, too buy it, he's made
          ain't he, ah? pause dur=5
Mark      I mean pause see why they call people like Constable, Rembrandt
          a great artist unclear
Unknown   I never see how they can call anybody like unclear
Mark      About Picasso a great artist
Stuart    Na, I don't know unclear
Mark      Its just pause crap
References I



   N Bourriaud. Relational aesthetics. Les presses du reel, Paris, 2002.
   Michael Corris. The Dialogical Imagination : The Conversational Aesthetic of Conceptual Art. In David
      Hopkins, editor, Avant Garde Critical Studies, pages 301310. Rodopi, Amsterdam, 2006.
   G Dickie. The art circle: a theory of art. Haven, Cambridge, 1984.
   Clement Greenberg. Avant-garde and kitsch. Partisan Review, pages 113, 1939.
   Paul Oskar Kristeller. The modern system of the arts: A study in the history of aesthetics part I.
      Journal of the History of Ideas, 12(4):496527, 1951.

   DW Maynard. Topical talk, ritual and the social organization of relationships. Social Psychology
      Quarterly, 47(4):301316, 1984.

   A Pomerantz. Agreeing and disagreeing with assessments: Some features of preferred/dispreferred turn
      shapes. In J Maxwell Atkinson and John Heritage, editors, Structures of social action: Studies in
      Conversation Analysis, chapter 4, pages 57102. Cambridge University Press, Cambridge, 1984.

   H Sacks and EA Scheglo. A simplest systematics for the organization of turn-taking for conversation.
      Language, 50(4):696735, 1974.

   Stephen C. Levinson. Pragmatics. Cambridge University Press, Cambridge, 1983.

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The Pragmatics of Aesthetic Assessment in Conversation

  • 1. The Pragmatics of Aesthetic Assessment in Conversation Saul Albert & Patrick G.T. Healey Queen Mary University of London saul.albert@eecs.qmul.ac.uk pat.healey@eecs.qmul.ac.uk 19/09/2012
  • 2. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: D'yuh li:ke it?
  • 3. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: D'yuh li:ke it? (...) . D: hhh Well I don't I'm not a great fan of this type of a:rt.
  • 4. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: D'yuh li:ke it?
  • 5. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: D'yuh li:ke it? . D: hhh Yes I do like it=
  • 6. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: D'yuh li:ke it? . D: hhh Yes I do like it= D: =although I rreally::=
  • 7. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: D'yuh li:ke it? . D: hhh Yes I do like it= D: =although I rreally::=
  • 8. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: D'yuh li:ke it? . D: hhh Yes I do like it= D: =although I rreally::= (...) . D: hhh Well I don't I'm not a great fan of this type of a:rt.
  • 9. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: D'yuh li:ke it? . D: hhh Yes I do like it= D: =although I rreally::= C: =Dju make it? (...) . D: hhh Well I don't I'm not a great fan of this type of a:rt.
  • 10. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) C: =Dju make it?
  • 11. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) C: =Dju make it? . A: No We bought it, It's a hh a Mary Kerrida print.
  • 12. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) C: =Dju make it? . A: No We bought it, It's a hh a Mary Kerrida print. D: 0:h (I k-)= A: =Dz that make any sense to you?
  • 13. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) C: =Dju make it? . A: No We bought it, It's a hh a Mary Kerrida print. D: 0:h (I k-)= A: =Dz that make any sense to you? C: Mn mh. I don' even know who she is.
  • 14. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) C: =Dju make it? . A: No We bought it, It's a hh a Mary Kerrida print. D: 0:h (I k-)= A: =Dz that make any sense to you? C: Mn mh. I don' even know who she is. A: She's that's, the Sister Kerrida, who,
  • 15. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) C: =Dju make it? . A: No We bought it, It's a hh a Mary Kerrida print. D: 0:h (I k-)= A: =Dz that make any sense to you? C: Mn mh. I don' even know who she is. A: She's that's, the Sister Kerrida,[ who, . D: hhh D: Oh that's the one you to:ld me you bou:ght.=
  • 16. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) C: =Dju make it? . A: No We bought it, It's a hh a Mary Kerrida print. D: 0:h (I k-)= A: =Dz that make any sense to you? C: Mn mh. I don' even know who she is. A: She's that's, the Sister Kerrida,[ who, . D: hhh D: Oh [that's the one you to:ld me you bou:ght.= C: Oh A: Ye:h
  • 17. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) C: =Dju make it? . A: No We bought it, It's a hh a Mary Kerrida print. D: 0:h (I k-)= A: =Dz that make any sense to you? C: Mn mh. I don' even know who she is. A: She's that's, the Sister Kerrida,[ who, . D: hhh D: Oh [that's the one you to:ld me you bou:ght.= C: Oh A: Ye:h D: [ Ya:h. A: Right.
  • 18. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) C: =Dju make it? . A: No We bought it, It's a hh a Mary Kerrida print. D: 0:h (I k-)= A: =Dz that make any sense to you? C: Mn mh. I don' even know who she is. A: She's that's, the Sister Kerrida,[ who, . D: hhh D: Oh [that's the one you to:ld me you bou:ght.= C: Oh A: Ye:h D: [ Ya:h. A: Right. (1.0)
  • 19. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: Right. (1.0) A: It's worth something,
  • 20. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: Right. (1.0) A: It's worth something, (1.0)
  • 21. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: Right. (1.0) A: It's worth something, (1.0) A: There's only a hundred of'm
  • 22. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: Right. (1.0) A: It's worth something, (1.0) A: There's only a hundred of'm (0.5) D: Hmm (...)
  • 23. Evaluation of A's new artwork (JS:I. -1) (Pomerantz, 1984) A: D'yuh li:ke it? (...) D: Yih d-know why I don't go fer this type of uh: art, Becuz it it strikes me ez being the magazine adverti:sement ty:pe. Which some uh-uh some a' them are really great. But tuhm I-my, taste in art is for the more uhit-t-treh- it tends tuh be realistic.
  • 24. Parameter shifts in this evaluation: the authorship of the print, the fame of the author (to co-participants), the monetary value of the print, the scarcity of the print, prior knowledge of the purchase and its authorship the correct spelling of the word Life in the print the degree to which the print is realistic, and the degree to which the print resembles a magazine advert.
  • 26. Conventional approaches to aesthetics Physical qualities of objects (Greenberg, 1939),
  • 27. Conventional approaches to aesthetics Physical qualities of objects (Greenberg, 1939), historical context (Kristeller, 1951),
  • 28. Conventional approaches to aesthetics Physical qualities of objects (Greenberg, 1939), historical context (Kristeller, 1951), institutional context (Dickie, 1984),
  • 29. Conventional approaches to aesthetics Physical qualities of objects (Greenberg, 1939), historical context (Kristeller, 1951), institutional context (Dickie, 1984), social/interpersonal relations (Bourriaud, 2002).
  • 30. Conventional approaches to aesthetics Physical qualities of objects (Greenberg, 1939), historical context (Kristeller, 1951), institutional context (Dickie, 1984), social/interpersonal relations (Bourriaud, 2002). (Corris, 2006) Such social eects are generally demonstrated rhetorically.
  • 32. A conversation about Jackson Pollock Mark Last time I went to the unclear was the school one pause Unknown Went to the Royal Academy when I was doing my 'O' Levels, unclear pause it was a Jackson follow up it was about, ambulance was about twelve foot by twelve foot, it was literally splodges of paint all over the fucking place, it was horrible, unclear you can actually buy them at the Royal Academy, you can't buy them at unclear, but he was asking a hundred thousand pounds for it, I couldn't believe it, a trained monkey could of fucking painted that pause unclear Mark Well that, it probably is. Stuart Jackson unclear is a monkey at London Zoo. Mark All you have to do is get one mug buy it, too buy it, he's made ain't he, ah? pause dur=5 Mark I mean pause see why they call people like Constable, Rembrandt a great artist unclear Unknown I never see how they can call anybody like unclear Mark About Picasso a great artist Stuart Na, I don't know unclear Mark Its just pause crap
  • 33. References I N Bourriaud. Relational aesthetics. Les presses du reel, Paris, 2002. Michael Corris. The Dialogical Imagination : The Conversational Aesthetic of Conceptual Art. In David Hopkins, editor, Avant Garde Critical Studies, pages 301310. Rodopi, Amsterdam, 2006. G Dickie. The art circle: a theory of art. Haven, Cambridge, 1984. Clement Greenberg. Avant-garde and kitsch. Partisan Review, pages 113, 1939. Paul Oskar Kristeller. The modern system of the arts: A study in the history of aesthetics part I. Journal of the History of Ideas, 12(4):496527, 1951. DW Maynard. Topical talk, ritual and the social organization of relationships. Social Psychology Quarterly, 47(4):301316, 1984. A Pomerantz. Agreeing and disagreeing with assessments: Some features of preferred/dispreferred turn shapes. In J Maxwell Atkinson and John Heritage, editors, Structures of social action: Studies in Conversation Analysis, chapter 4, pages 57102. Cambridge University Press, Cambridge, 1984. H Sacks and EA Scheglo. A simplest systematics for the organization of turn-taking for conversation. Language, 50(4):696735, 1974. Stephen C. Levinson. Pragmatics. Cambridge University Press, Cambridge, 1983.