Aesthetics in Philosophy
In college, I was fascinated with philosophy. The way philosophers think inspired me. I loved to come to class just to listened to my professors lectures, especially Dr. Volpe and Dr. Tsakiridou. I learned so much from them and wished I have their brain. In Dr. Tsakiridou class, we were trained to look at work of art in a philosopher’s way. Another word, look at the aesthetic qualities alone. For example, when you look at a painting, don’t try to figure out the meaning behind it or try to find out the artist intentions. Most importantly, do not bring in your personal experience into the work of art. So when you listen to Eminem, don’t be bothered by his lyrics or try to figure out why he expresses himself the way he does. Focus on the aesthetic qualities. Another example, Piss Christ by Andres Serrano. Don’t worry how the work of art was made. Just focus on the aesthetic experience. So what is the aesthetic experience? According to Monroe C. Beardsley explanation:
First, an aesthetic experience is one in which attention is firmly fixed upon heterogeneous but interrelated components of a phenomenally objective field-visual or auditory patterns, or the characters and events in literature. Some writers have suggested that in such an experience, as when we are deeply absorbed in the tension of visual design or in the developing design of music, the distinction between phenomenal objectivity and phenomenal subjectivity itself tends to disappear. This may be overstated, but in any case the experience differs from the loose play of fancy in daydreaming by having a central focus; the eye is kept on the object, and the object controls the experience.
Second, it is an experience of some intensity. Some writers have said that it is an experience pervasively dominated by intense feeling or emotion, but these terms still occupy a dubious position in psychological theory; what we call the emotion in an aesthetic experience may be simply the intensity of the experience itself. In any case, the emotion is characteristically bound to its object, the phenomenal field itself-we feel sad about the characters, or uncertain about the results of an unexpected modulation. Aesthetic objects give us a concentration of experience. The drama presents only, so to speak, a segment of human life, that part of it that is noteworthy and significant, and fixes our minds on that part; the painting and the music invite us to do what we would seldom do in ordinary life – pay attention only to what we are seeing or hearing, and ignore everything else. They summon up our energies for an unusually narrow field of concern. Large-scale novels may do more; they are in fact always in danger of dissipating attention by spreading it out into our usual diffuse awareness of the environment.
This is why the expression “feeling no pain” is particularly apt to aesthetic experience. The pleasure is not often comparable in intensity to the pleasures of satisfying the ordinary appetites. But the concentration of the experience can shut out all the negative responses-the trivial distracting noises, organic disturbances, thoughts of unpaid bills and unwritten letters and unpurged embarrassments-that so often clutter up our pleasures. It does what whiskey does, only not by dulling sensitivity and clouding the awareness, but by marshalling the attention of a time into free and unobstructed channels of experience.
Third, it is an experience that hangs together, or is coherent, to an unusually high degree. One thing leads to another; continuity of development, without gaps or dead spaces, a sense of overall providential pattern of guidance, an orderly cumulation of energy toward a climax, are present to an unusual degree. Even when the experience is temporary broken off, as when we lay down the novel to water the lawn or eat dinner, it can retain a remarkable degree of coherence. Pick up the novel and you are immediately back in the world of the work, almost as if there had been no interruption. Stop the music because of a mechanical problem, or the ringing of a phone, but when it is started again, two bars may be enough to establish the connection with what went before, and you are clearly in the same experience again.
Fourth, it is an experience that is unusually complete in itself. The impulses and expectations aroused by elements within the experience are felt to be counterbalanced or resolved by other elements within the experience, so that the degree of equilibrium or finality is achieved and enjoyed. The experience detaches itself, and even insulates itself, from the intrusion of alien elements.
Source: Aesthetics: Problems in the Philosophy of Criticism by Monroe C. Beardsley.