By Stefanie Toth
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Extra info for Aesthetics of Computer Games for Virtual Environments
After all, it might be that the reason for (or perhaps, more precisely, the cause of) my particular attachment Platonism, Music and the ‘Listener’s Share’ 45 to certain works or passages is a kind of affective disposition which has more to do with peculiarities of a strictly personal kind – a complex of cultural or private-associative traits – than with anything remotely pertaining to the music’s intrinsic worth. I suspect that this is very often the case – more often than we might care to admit – with music that tends to haunt the memory and evoke our most intimate or powerful responses.
And from here it is no great distance to the root confusion that typifies so many strains of anti-realist thought, that is to say, the epistemic fallacy according to which there is simply no raising the issue of truth except by way of those other issues concerning the scope and limits (along with the methods, procedures and validating grounds) of knowledge. For once launched on this slippery path it is hard – if not impossible – to stop short of the wholesale anti-realist conclusion that Platonism, Music and the ‘Listener’s Share’ 35 truth just is reducible to knowledge, knowledge to a matter of epistemic or assertoric warrant, and warrant to whatever counts as such by our best communal lights.
Such instances call out for some means of resolution, whether they occur between different listeners or – less often but more problematically – within the same listener who has somehow to square them without undue Platonism, Music and the ‘Listener’s Share’ 39 psychological or conceptual strain. , analytically cogent or communicable) terms what makes a particular piece so utterly compelling despite the strong sense that this case can and should be made in a way that lifts it above the sphere of subjective or personal taste.
Aesthetics of Computer Games for Virtual Environments by Stefanie Toth