For the International Conference on Conversation Analysis 2014 I gave a talk on some work derived from my PhD: Respecifying Aesthetics. It looked at two forms of silent contemplation – and two sequential positions for bringing off silences as accountable moments for subjective contemplation and aesthetic judgement.

The talk looked at where this conventional notion of aesthetic judgment as an internal, ineffable phenomenon might come from in practical terms. In philosophical terms the idea comes from Kant, who gets it from Hume, who draws on Shaftesbury. I think Hume puts it best.


But this talk isn’t about philosophical aesthetics – it’s about the practical production of contemplation in interaction. It points to the kinds of practical phenomena that we can observe in people’s interactional behaviors that might have inspired philosophers to hypothesise that aesthetic judgments are ineffable, internal, psychological activities.

The empirical crux points to two positions in sequences of talk that people can use to present something as arising from contemplation. The first is done as an initial noticing or assessment, launched from first position without reference to prior talk or action. The second is produced as a subsequent noticing – launched in first position as though responsive to some tacit prior ‘first’.

By studying the practical structure of these ostensibly internal, ineffable events, we can develop more plausible hypotheses about how aesthetic experiences function in theoretical or psychological terms.


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Anita Pomerantz and Sister Corita Kent in Conversation
Aesthetic Assessments in the BNC
Respecifying Aesthetics
What can cognitive science tell us about art, and vice versa?
Beginning to dance: methods of mutual coordination between novice dancers