Aesthetics

Aesthetics (or Philosophy of Art) is a branch of Philosophy focused on the definition of Art in general and how we relate to what is Beautiful to us individually. The word Aesthetics was first used by the German philosopher Alexander Gottlieb Baumgarten, and later Immanuel Kant, whose work on the Aesthetic and Sublime helped establish Aesthetics as a more formal philosophical study than it had been before. All cultures have developed Art throughout History, but Aesthetics can be thought of as “Meta-Art”, in a way. As Confucious said, “everything has beauty, but not everyone sees it.” So, doing Aesthetics is to study what constitutes Art, Music, Theatre, and more, also examine the role of the “Artist”, using the term generally, to ask “What is Art?”

Closely related to Ethics, including an individual's “Moral Core”, we often link what is Good with what is Beautiful. Studies in the Philosophy of Mind, Anthropology, even Epigenetics have all had connections in aesthetic principles as well. Since our actions or behaviours can be said to have Beauty beyond sensory appeal, Aesthetics and Ethics often overlap to the degree that this impression is embodied in a Moral or Ethical Code. The elements which often contribute to the aesthetic appeal of an Object or Action as well as the perception of its Goodness depend greatly upon the medium under which the Object or Action has been designed and the ethical landscape surrounding it. Many Artworks since the first World War have openly challenged the viewer in this way.

What is “Art”?

Aesthetic also means something “appeals to the senses”, and our aesthetic has a lot to do with our artistic judgement in general. As individuals, we make choices about what we wear, drive, and decorate our homes with, all of which points to a particular “aesthetic” within us. How best to define the term “Art” has always been a subject of much contention, but never more so than during the Twentieth Century. Many books and journal articles have been published arguing over even the basics of what artists and philosophers mean by saying something qualifies as Art.^[1] In 1969, Theodor Adorno said, “It is self-evident that nothing concerning Art is self-evident any more.”^[2] Academic artists, philosophers, anthropologists, psychologists, and others all use the notion of Art in their respective fields, and they gave it operational definitions which became less similar over time.

Clearly the basic meaning of “Art” has changed. What was considered beautiful in 1920 might be hopelessly quaint now, or at best, “retro”, which doesn't always mean “beautiful”. Some thinkers have argued that the difference between the “Fine Art” and otherwise “Applied Art” has more to do with values we apply to the Art, rather than any clear definition.^[3]

The Greeks, perhaps, had the strongest influence on the Aesthetics of the West. This is not surprising, given the intellectual and scientific advancements focused on and celebrated throughout the Western lines and eras, but today we have little excuse for minimizing the importance of other cultures and their Art.

The Cubists and Dadaists, or dissonant Modern Classical Music, for examples, many Art movements and individual works, have all struggled against or toyed with the concept that Beauty is central to the definition of Art. Some even lament that, “Beauty had disappeared not only from the advanced Art of the 1960's but from the advanced Philosophy of Art of that decade as well.”^[4] However, today we better understand that it takes a studied eye or ear to see Abstract Art or hear Abstract Music and discern Beauty when all one knows is the traditional. Once attuned, and especially when the Artwork has the right balance and statement for us, the Abstract becomes just another mode or flavour along with others. Perhaps the way to define Art is to ask what education and exposure the perciever is bringing to the work. Who would have considered a scrubbing product box or a public urinal to be artistic until Andy Warhol and Marcel Duchamp (respectively) placed them in the right context of an Art Gallery, which then provided and imbued these Objects with the aura and values, and indeed the education and exposure, which are a part of the Art World.

Is an Artwork a means of gaining knowledge of some special kind? Does it give insight into the human condition? How does the work relate to our Knowledge and Beliefs? Is the work a tool of education, indoctrination, acculturation or enculturation? Does it help make us more ethical? Can it uplift us spiritually? Is the work political in some way? Is there some value to sharing or expressing the emotions it may trigger? Might the value for the artist be quite different than for the audience?

Answering the above questions often teases out the meaning of an Artwork much more easily than trying to design a pedantic theory from the top-down. Working on the intended and resulting value of Art tends to help define the relations between Art and other endeavors. Art clearly does have critical goals in many settings, but then what exactly is the difference between critical Art and Criticism? Is every critical essay also a piece of Performance Art? Regardless, the value of an Artwork is often the answer to that same question, “What is Art”?

Aesthetics and History

Examples of Pre-Historic Art are no longer rare, and the contexts of their production and uses have become more and more clear to us thanks to research and discoveries. Scholars and archaeologists previously could do little more than guess at the aesthetic doctrines guiding some Pre-Historic works, but discoveries around the World have shown every Culture has had some form of Art, and the uses of those Arts have been given context and meaning. Ancient Art blossomed throughout all areas of the World with many different unique and characteristic styles. Below are just a few examples.

Greece

The Ancient Greek period in Art saw a veneration of the human physical form and the development of corresponding skills to show musculature, poise, beauty, and anatomically correct proportions. Greek philosophers correspondingly felt felt that aesthetically appealing objects were beautiful in-and-of-themselves. Plato found that beautiful objects incorporated Proportion and Harmony, even Unity among their parts. Similarly, Aristotle found that the Universal Elements of Beauty were Order, Symmetry, and Definiteness. As the Medieval World shifted into the Renaissance, Art began to focus again on secular issues of human life. The Philosophy of Art of the Ancient Greeks and Romans was thus re-appropriated in the West.

Africa

Most of Africa's Sub-Saharan Art follows traditional forms, and the aesthetic norms were handed down orally as well as in written form, yet Africans developed unique aesthetics. Sculpture and Performance Art are prominent, and abstract and partially abstracted forms are highly valued - long before influence from the Western tradition began in earnest.

“Persia”

Perhaps the most accessible manifestation of complex civilization which often seems enigmatic to outsiders, the Persian use of brilliant Colour and balance between Design and Form creates an immediate visual impact. The strong aesthetic appeal seems to transcend Distance, Language, and Culture emphasizing the decorative, non-representational function of Art in geometric and floral patterns and abstract forms.

India

Art evolved on the Sub-Continent with an emphasis on inducing special spiritual or philosophical states of Mind in an audience, representing states symbolically. Classical Indian Architecture, Sculpture, Painting, Literature, Music, and Dance have their own rules and share with one another the underlying metaphysical beliefs of the people.

China

In Ancient times Chinese philosophers were already arguing about Aesthetics. Confucius emphasized the role of the Arts and Humanities, particularly Music and Poetry, in broadening human nature and aiding “li” (“etiquette”, and “rites”) in bringing us back to what is essential about humanity. Mozi, however, argued that Music and Fine Arts were class-based and wasteful, benefiting the rich but not the common people.

Aesthetics in the Arts

There are elements we can define across a group of Paintings, Plays, or really any Artwork. Generally, Art adheres to the aesthetic principles of Symmetry/Asymmetry, Focal Point or Perspective, Pattern and Contrast, Dimension, Movement, Rhythm, Unity, and Proportion. Music has the ability to directly affect our Emotion, Intellect, and even our Psychology. Lyrical works can assuage our loneliness or incite our passions, and as such, music is a powerful Artform. Although, the aesthetic appeal of Music is highly dependent upon the Culture where it is developed and practiced, common elements expressed in Music include Lyricism, Harmony, Hypnotism, Emotion, Temporal Dynamics, Resonance, Playfulness, and even Colour.

Applying Aesthetics to buildings and related architectural Structure is complex, as factors extrinsic to Visual Design (such as structural integrity, cost, the nature of building materials, and the functional utility of the building) contribute heavily to the design process. Architectural designers can still apply the aesthetic principles of Ornamentation, Edge Deliniation, Texture and Flow, Solemnity, Symmetry, Colour, Granularity, and the interaction of Sunlight and Shadow. The great architects would argue they are directly manipulating Light, Transcendance, and Harmony. Closely related, landscape designers use natural and artificial materials scaling from the size of a person to the expanse of an open field. They may employ Water, Colour, Plants, Reflection, Seasonal Variance, Masonry, Fragrance, Depth of Field, Light and Lighting, Repetition, and other elements.

Performing artists appeal to our aesthetics of Storytelling, Grace, Balance, Class, Timing, Strength, Shock, Humour, Costume, Irony, Beauty, and Sensuality. Extending this to Poetry, Stories, Novels, and Non-Fiction, authors use a many different techniques to appeal to our aesthetic values. Depending on the type of writing an author may employ Rhythm, Illustrations, Structure, Time Shifts, Juxtaposition, Foil Characters, Imagery, Fantasy, Suspense, Analysis, Humor, and Cynicism. Another type of performance is cooking. Although food is a basic and frequently experienced commodity, careful attention to the aesthetic possibilities of our culinary palette can turn mere eating into artful dining. The best chefs inspire us with Regionalism, Spices, Diversity and Contrast, Anticipation and Seduction, and of course, Decoration and Garnish.

Great Artwork, regardless of the medium of expression, touches our Soul and excites our emotions and intellect. Art may even violate some of our personal guidelines as a way to encourage us to reflect. It may lend different weights to aesthetic principles within us. Studying Aesthetics, even in a short article such as this one, gives us a basis for further discussion with ourselves as well as our friends and family.

References

1. Davies, 1991, Carroll, 2000.
2. Danto, 2003.
3. Novitz, 1992.
4. Arthur Danto, The Abuse of Beauty, 2003..

Scholarship by M.R.M. Parrott

Synthetic A Priori: Philosophical Interviews Interviews, Discussion ©1998-1999 M.R.M. Parrott First Published: 99,00,02,08,11 Published by rimric press 0-9662635-6-1 | 978-0-9662635-6-5 232 Pages, Paperback & eBook, 2025 2025 Edition Extras: Both Prefaces, Notes on the Text and Cover Art Amazon Paperback (author) Barnes & Noble Paperback (author) Waterstones Paperback (author)

The Generation of 'X': Philosophical Essays 1991-1995 Academic Papers ©1991-1995 M.R.M. Parrott First Published: Oct 2002 Published by rimric press 0-9662635-0-2 | 978-0-9662635-0-3 160 Pages, Paperback & eBook, 2025 2025 Edition Extras: Afterword Amazon Paperback (author) Barnes & Noble Paperback (author) Waterstones Paperback (author)