Showing posts with label aesthetic judgment. Show all posts
Showing posts with label aesthetic judgment. Show all posts

Monday, April 18, 2011

Natural Beauty

My last post, on the natural sublime, contained two images: one was a photograph by Ansel Adams, the other a painting by Georgia O'Keeffe. Both were of the same subject -- a leaf -- but the difference between the two shows that there can be no "objective" view of even an ordinary object. Of course, we all recognize that a leaf is being represented. To that extent, we all possess (as Kant might say) a common cognitive apparatus. The representation, however -- the photograph or the painting -- is evidence of the artist's "distinctive soul" (as Roger Scruton says, in his book Beauty). All of us, likewise, when viewing nature, see something different. Thus, according to Kant, the subjective aspect of our view of nature or of art. As Scruton notes, for Kant the appreciation of arts became a "secondary exercise of aesthetic interest." It is our appreciation of nature -- even the most utilitarian people respond to their surroundings -- that is the "primary exercise of judgment."

The lovely image at the top is of a species of butterfly, Kallima inachus, that mimics dry leaves for camouflage.

Thursday, April 7, 2011

Aesthetic Impressions

The essay on Bodmer and the sublime ("Where Are the Mountains?") is reaching a conclusion. I had hoped to finish it by the end of January, and here we are in April. Well, this week I am working on the footnotes, so that must mean I will soon be finished, right?

I was going through Ernst Cassirer's The Philosophy of the Enlightenment this morning, trying to locate a reference he had made to Bodmer's "Lockean sensualism." I haven't found it yet, but I came across this gem: "The observation of an object under the microscope may reveal to the naturalist its composition and thereby its real objective nature, but its aesthetic imrpession becomes a total loss." This comes up in the section on Alexander Baumgarten and "the new science of aesthetics," which, as Cassirer writes, "abandons itself to sensory appearance, without attempting to go beyond it to something entirely different, to the grounds of all appearance." For example, a geologist could tell us about the composition of a landscape, from which we would gain much "scientific insight," but "not the slightest trace of the beauty of the landscape would be preserved."

Cassirer quotes a very early poem by Goethe (from his Leipzig student days), which gives poetic expression to the difference between scientific observation and aesthetic impression:

Fluttering the fountain nigh
The iridescent dragonfly
An hour mine eye has dwelt upon;
Now dark, now light alternately
Like the chameleon;
Now red, now blue,
Now blue, now green:
How would its hues appear
If one could but come near!

It flits and hovers, resting not --
Hush! on a willow bough it lights;
I have it in my fingers caught,
And now I seek its colors true
And find a melancholy blue --

Such is thy lot, dissector of delights!

Wherever one looks, Goethe is always there!

Photo credit: Butterfly blogspot