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
In every explanation of pleasure-pain, attention must therefore be paid
not only to the claims which are made on the several organs by the
objective causes (stimuli or movements), but also to the capacity of
the organs to meet these claims. This capacity, on the other hand, is
evidently dependent upon the supply of energy afforded by the nutritive
processes. In the endeavour to pay due attention to both these factors
Lehmann has been led to this conclusion: “Pleasure and pain may in all
cases be assumed to be the psychical outcome of the relation between
the consumption of energy which at a given moment is demanded from the
organs, and the supply of energy which is afforded by nutrition.”[48]
In the course of a lengthy and laborious investigation Marshall has
arrived at a very similar result: “Pleasure and pain are determined by
the relation between the energy given out and the energy received at
any given moment by the physical organs which determine the content
of that moment.” Pleasure is experienced, according to Marshall’s
definition, whenever a surplus of stored energy is discharged in the
reaction to the stimulus; pain is experienced whenever a stimulus
claims a greater development of energy in the reaction than the organ
is capable of affording.[49]
In this mode of treatment due attention is paid to those theories
according to which the conditions of pleasure are to be sought, not in
expenditure of force, but in the receiving of force or in the recovery
of balance.[50] But though this point has its own importance, it cannot
by any means be put on a level with the dynamic aspect. Pleasure _can
never arise_ when the organs are not well-nourished, strong, and
capable of function; but it arises only _on the condition_ that they
actually do perform a function. As Marshall has rightly remarked,
there is no reason to believe that surplus of vigour and receipt of
nourishment in themselves could ever be objects of consciousness.[51]
As long as we can speak of mental states, these must be accompanied
by corresponding activities. The chief merit of Marshall’s thesis is
precisely this, that every emotional state, independently of its tone
and of its perceptible manifestations, can be interpreted in terms
of activity. Pleasure, acute or massive, appears as the result of a
stimulus, which, owing to a happy proportion between its intensity and
the functional capacity of the organ, has modified the bodily functions
in such a way as to produce manifestations of energy. Pain, acute or
massive, appears as the result of a stimulus, possibly of the same
kind, which, owing to a disproportion arising from its own greater
intensity or the smaller functional capacity in the organ, has called
forth a functional inhibition—that is to say, that kind of activity
which is manifested to us as an arrest of energy.
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