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
It may, however, be objected that the above-mentioned instances refer
only to a particular class of individuals. In other minds, it will be
said, the world-picture is entirely built up of visual and acoustic
elements. It is also impossible to deny that the classification of
minds in different types, which modern psychology has introduced, is
as legitimate as it is advantageous for the purposes of research. But
we can hardly believe that such divisions have in view anything more
than a relative predominance of the several psychical elements.[111]
It is easily understood that a man in whose store of memory visual or
acoustic images occupy the foremost place may be inclined to deny that
motor sensations of unconscious copying enter to any extent into his
psychical experience. But an exclusively visual world-image, if such a
thing is possible, must evidently be not only emotionally poorer, but
also intellectually less distinct and less complete, than an intuition,
in which such motor elements are included.
The importance of motor sensations in the psychology of knowledge is
by itself of no æsthetic interest. The question has been touched upon
in this connection only because of the illustration which it gives
to the imitation theory. If, as we believe is the case, it is really
necessary, for the purpose of acquiring a complete comprehension of
things and events, to “experience” them—that is to say, to pursue
and seize upon them, not only with the particular organ of sense to
which they appeal, but also by tracing movements of the whole body,
then there is no need to wonder at the universality of the imitative
impulse. Imitation does not only, according to this view, facilitate
our training in useful activities, and aid us in deriving an æsthetic
delight from our sensations: it serves also, and perhaps primarily,
as an expedient for the accommodating of ourselves to the external
world, and for the explaining of things by reference to ourselves. It
is therefore natural that imitative movements should occupy so great
a place among the activities of children and primitive men. And we
can also understand why this fundamental impulse, which has played so
important a part in racial as well as in individual education, may
become so great as to be a disease and dominate the whole of conscious
life.[112] As children we all imitated before we comprehended, and we
have learned to comprehend by imitating.[113] It is only when we have
grown familiar by imitation with the most important data of perception
that we become capable of appropriating knowledge in a more rational
way. Although no adult has any need to resort to external imitation in
order to comprehend new impressions, it is still only natural that in a
pathological condition he should relapse into the primitive imitative
reaction. And it is equally natural that an internal, _i.e._ arrested,
imitation should take place in all our perceptions. After this
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