The Principles of AestheticsParker, De Witt H. (De Witt Henry)
Philosophy
The Principles of Aesthetics
Parker, De Witt H. (De Witt Henry)
Aesthetics
The question of the place of authority in aesthetics is raised again
by a consideration of another class of pseudo-aesthetic judgments,
which I shall call ignorant judgments. These judgments are perfectly
sincere, but express an aesthetic experience that is imperfect, owing
to defective understanding of art. So many people judge works of art
as if they could assimilate them immediately, without any knowledge
of their purpose and technique. They fail to recognize that a work of
art has a language, with a vocabulary and grammar, which has to be
mastered through study. A work of art is a possibility of a certain
complex of values, not a given actuality that can be grasped by merely
stretching out the hand. Very little of any work of art is given--just
a few sense stimuli; the rest is an emotional and meaningful reaction,
which has to be completed in a determinate fashion. A work of art is
a question to which the right answer has to be found. And in order to
find the answer, it is necessary to know both what to look for and
what not to look for. For example, in judging Japanese prints, one
must realize, from the limitation of the medium, that one cannot look
for all the fullness of expression of shadow and atmosphere possible
in an oil painting; or in judging decorative or post-impressionistic
painting, one must realize that the purpose of the artist is chiefly
to obtain musical effects from color and line, not to represent nature
realistically.
Because works of art are ideals, possibilities of experience, and not
given things which everybody can appreciate without knowledge and
effort, I am skeptical of all results obtained in laboratories of
experimental aesthetics, where college students are asked to judge
works of painting, music, and sculpture. An uninstructed majority vote
cannot decide any question in aesthetics. Such experiments, with the
exception of those that concern the most elementary reactions, yield
interesting statistical results about the groups employed as subjects,
but are of no value in aesthetics. And what wonder that we should find
people disagreeing in their judgments when, because of ignorance, they
are not reporting about the same objects!
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