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JOSEPH
MARGOLIS
Aesthetic
Perception
WORTH
JOSEPH
210
MARGOLIS
211
Aesthetic Perception
appeared originally to be a perceptual distinction into an attitudinal one.7
The difficulty with an attitudinal definition is very easy to trace. One supposes that
we are dealing with an attitude of a determinable sort toward some determinable
engagement. The question is, what sort of
engagement? Is it being engaged in perceiving things? The differences among the various arts, at the least, come to mind again
and the problems that have suggested themselves from these. So, for one thing, an account which emphasizes attitude or interest
will inevitably be subordinate to another
which identifies the sort of engagement the
appropriate attitude or interest concerns.
The factors mentioned in attitudinal definitions regularly include disengagement from
the so-called "practical" concern with the
world of objects,8 the purity, steadfastness,
intensity of our attention once so disengaged. But here we must note that the compatibility of different attitudes or interests
will have to be taken as empirical and contingent.9 For another thing, these attitudes
and interests must be taken to form a continuum of mixed tendencies-it would be
misleading to describe the characteristic aesthetic experience as rapt or to define aesthetic experience as having among its essential ingredients such pure and rapt
attention.10 For a third, we must be careful
not to allow such "quantifications" of our
attention (as of purity, steadfastness, intensity) to be retransformed into perceptual
distinctions; we should then have made a
complete circuit. In fact, Edward Bullough's
celebrated essay on "psychical distance" suffers from such a transition."
It is also sometimes supposed that aesthetic perception is somehow valuationally
privileged. John Dewey for instance is in
the habit of speaking of aesthetic perception
or experience as being peculiarly bound up
with the perception of a certain "satisfying"
coherence and order.12But this has the odd
result that, taken in a non-trivial sense, his
view precludes the possibility of examining
aesthetically a poorly constructed work of
art; such perception, being by hypothesis
unsatisfying, must be non-aesthetic, though
as far as mere discrimination is concerned
(as distinct from valuation) the kind of per-
ception involved will not be noticeably different from that involved in the other. So
that even if we did preempt the term "aesthetic" for certain discriminations valued
in a certain way, we see that we are still
left with a larger and logically prior effort
merely to make perceptual discriminations
themselves.13
Note please that he wishes to treat the meanings of words in a poem as discernible
qualities of the poem.15 Another writer remarks:
If this is what, as I believe, feeling import is
[i.e., the intuitable intrinsic quality, the "suchness" of (an entity)], then we may say: with regard to any entity whatever, whether it be something perceived, sensed, imagined, conceived, or
in some other way brought before the mind...
if we are receptive simply and solely to the intrinsic quality, "the what," or "suchness" of it;
if what we do with the quality is feel it, rather
than interpret it, then our attitude is aesthetic,
the entity has the status of aesthetic object, and
we are "savoring" its feeling import.16
212
JOSEPH
1This is a revised version of a paper first presented before the American Society for Aesthetics
(Fall 1958), at Berkeley, California.
2 For a particularly extreme instance, cf. C. E. M.
Joad, Matter, Life and Value (London, 1929).
3 Cf.
Henry David Aiken, "A Pluralistic Analysis
of Aesthetic Value," The Philosophical Review, LIX
(1950), 497-498.
4 Vincent Tomas, for instance, holds such a view;
cf. "Aesthetic Vision," The Philosophical Review,
LXVIII (January 1959), 52.
Tomas is most certainly not holding this very
unpromising view.
61 believe this is the point of Tomas' entire discussion; cf. op. cit., 58-60 particularly. It also ex-
MARGOLIS
Aesthetic Perception
turbance of practical involvement (e.g., superstition,
pathetic fallacy, romance, sentimentality). So changes
regarding the two factors are not changes along the
same scale; a decrease of distance is not the reverse
of an increase of distance. The antinomy of distance,
for which Bullough is so well known ("What is ...
both in appreciation and production most desirable
is the utmost decrease of distance without its disappearance") is merely an apparent antinomy; the
second scale is quite gratuitously added to the first.
2 Thus Dewey writes, ". .. the [aesthetic] experience itself has a satisfying quality because it possesses internal integration and fulfilment reached
through ordered and organized movement"; and
also, "... no experience of whatever sort is a unity
unless it has aesthetic quality"; also, "To be truly
artistic, a work must also be aesthetic-that
is,
framed for enjoyed receptive perception. Constant
observation is of course necessary for the maker
while he is producing. But if his perception is not
also aesthetic in nature, it is a colorless and cold
recognition of what has been done, used as a stimulus to the next step in a process that is essentially
mechanical," Art as Experience (New York, 1934),
Ch. III.
"I may perhaps suggest here that "aesthetic experience" be taken to apply minimally to the having
of perceptions, regardless of the emotional tone that
attends our perceptions. This is not to advocate
emotionally "colorless" perception but rather to
avoid the difficulties inherent in such a way of
speaking as Dewey's. It is, I think, just as significant
as the "satisfying," "fulfilling," "ecstatic," "rapt"
qualities usually attributed to aesthetic experience
(obviously relatively rare) to speak of sustained attention to what one perceives, concentrated awareness of qualities discriminated, and the like. Though
even here, we see that if we emphasize discrimination as itself adequately aesthetic, developed attention may be superfluous. And if attention is regarded as critical, discriminations usually regarded
as aesthetically significant would be denied such
status. Cf. Frank Sibley, "Aesthetic Concepts," The
213
Philosophical Review, LXVIII (October 1959), 421450.
14Sidney Zink, "The Poetic Organism," The
Journal of Philosophy, XLII (April 2, 1945), 423;
cf. also, Zink, "Quality and Form in the Esthetic
Object," The Journal of Philosophy, XLII (March 1,
1945), 119-120.
5
Though it is impressively diverse, C. J. Ducasse's list of aesthetic eligibles is misleading; cf.
The Philosophy of Art (New York, 1929), p. 224. He
says objects may be "ecpathized, i.e., from [them]
may be extracted in contemplation [their] import of
aesthetic feeling." But this suggests that meanings
do not form a part of that "import." And Ducasse
actually distinguishes between "lectical" contemplation (directed to meanings) and "aesthetic" contemplation (directed to feelings).
16Vincent Tomas, "Ducasse on Art and its
Appreciation," Philosophy and Phenomenological Research, XIII (September 1952), 73-74.
17
Ducasse, I might point out, fails to distinguish
satisfactorily between a narrowly psychological use
of "feeling" and the phenomenal use. His typical
illustrations-pleasure, pain, anger, jealousy, rageare illustrations of the psychological sort. Yet it is
clear that he also intends the phenomenal. Thus,
in speaking of aesthetic "feeling," he would wish to
include sensations as well as feelings (in the psychological sense), but for some reason (presumably, a
confusion between the two senses) he denies that
"meanings" may be included in the "feeling import"
of things. This distinction cannot be maintained,
in terms of the range of experience to be accounted
for; and if it is maintained on psychological grounds,
the distinctive mechanisms underlying sensation and
feeling, as well as memory and imagination, would
have to be admitted as well. Ducasse's neat distinctions among endotelic activities-the
lectical, the
aesthetic, and the heuristic-would
then founder.
All of these difficulties are obviated if we speak,
say,
of "feeling" or "savoring" the meanings of literary
pieces.