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
even of the most abstract kind, are accompanied by modifications of
organic activity, similar to, but weaker than, those which accompany
the simple sensations. It is only natural, therefore, to conclude that
the feeling-element in emotions and sentiments, as well as in simple
pain and pleasure, is correlated with the quality—stimulating or
inhibitive—and intensity of these modifications. All hedonic states,
whether called forth directly by a simple physiological stimulus, or
indirectly by the mediation of perceptions, memories, and ideas, can
thus, in so far as they are feelings, be considered as essentially
alike. The complete emotion, such as joy or anger, with all its
elements of thought and conscious or unconscious volition, is of course
something quite different from the simple feeling-tone of mere pleasure
or pain. Physiological psychology does not, as its opponents maintain,
assimilate gratifications of the sense of taste to æsthetic enjoyment
or religious exaltation. We allow _rank_ to a sentiment in virtue
of the mental conceptions by which it is justified in the breast of
the person who feels it. But the _strength_ of such a sentiment, _as
feeling_, we deem to be proportioned to the organic changes by which
enthusiasm and devotion, just as much as sensual pleasure, are always
accompanied. We do not assert that these organic changes are always
identical in kind. In the simplest forms of hedonic sensation—sensation
proper—they have their main equivalent in changes of the vegetative
functions; in the emotions they are accompanied by movements of our
voluntary muscles; and in the sentiments they may correspond to an
activity which takes place chiefly in the organ of thought. And from
these differences arise other important differences in duration as well
as in intensity of the pleasure-pain. But all these various limitations
cannot modify the essential fact, which is, that pleasure is always
connected with an enhancement, and pain with a depression, of the vital
functions.
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