The fact that, in practice, the judgments even of connoisseurs are perpetually at variance, and that the so-called criteria of one place or period are more or less opposed to those of all others, is explained by the hypothesis that individuals are differently gifted in respect of the capacity to appreciate.
Within philosophical logic, the application of aesthetic absolutism within a truth-value system can be understood as attempting to describe the nature of art through the perspective of faultless disagreement.
[3] David Malet Armstrong and others note that the underlying principle behind these truth judgements can be derived from the truthmaker theory, in that the ontological grounding for relations between objects within truth-judgements exists as such.
(Plato, Symposium, 212a-b).Plato's articulation as to how this possible was not necessarily 'absolutist' in the modern sense of the word, but rather was based on his conceptualization of the need for something to be understood within an evaluative system, designed to guarantee stable references of objects.
This can be seen as a contrast from the Eleatic school, particularly in the case of Parmenides, where the primacy of the 'Form', or what is 'to be' (in Ancient Greek, 'εστι' ) was denoted as having an absolute resolution in the cosmos itself, where it was not divided between what can be intelligibly understood and the essence of an object as such.