The origins of art; a psychological & sociological inquiryHirn, Y. (Yrjö)
Philosophy
The origins of art; a psychological & sociological inquiry
Hirn, Y. (Yrjö)
Aesthetics; Art -- Philosophy; Art, Primitive
Although these broad facts are universally recognised, there is
nevertheless no unanimity with regard to their interpretation. It
may be held, on the one hand, that the perception of those objective
conditions which call forth pleasure is accompanied by a tendency
to movement. That, conversely, movement creates pleasure would thus
be the result of an association. But it may also be contended that
the functional enhancement, the stimulation itself, when present to
consciousness, is perceived as pleasure, and that the feeling-tone
created by movement is thus not indirect and secondary, but, on the
contrary, is a typical pleasure.
We do not by any means deny the influence which associative processes
exercise on all our feelings and on the activities connected with
them. As has been shown by Darwin, animals as well as primitive man
have earned their chief enjoyment, outside their delight of warmth
and repose, by violent actions, such as hunting, war, and pairing
fights.[46] And if it be objected that memories from those distant
times cannot now influence our feelings, it must at least be admitted
that within the life of the individual a firm foundation is laid for
association between pleasure and activity.[47] Independently of all
general theories, we must therefore reckon with association as a
factor by which the motor element of pleasure is greatly increased.
But it seems to us impossible to make the remembrance—conscious or
unconscious—of earlier similar states the only ground of the activity
which is connected with pleasurable feelings.
It is at least far more simple and consistent to explain, with
Hamilton and Bain, the activity itself as the physiological condition
of pleasure. If any increase of function—whether brought about by
chemical, mechanical, or psychical (that is, indirectly mechanical)
influences—be considered as a physiological condition of pleasure, and
any arrest of function in the same way be considered as a counterpart
of pain, then all states of pleasure or pain may be included in one
common interpretation. Only it must be remembered that the increase
of function can never be measured by any absolute standard. The same
stimulus which in one individual calls forth pleasure may in another
individual cause pain, and the same bodily activity which we enjoy
when in a vigorous state of health may occasion suffering when we
are weak or ill. Such variations are evidently conditioned by the
varying functional powers of the organs involved. When these powers are
reduced, a stimulus, or a movement which usually produces a stimulating
effect, may instead call forth depression and pain.
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