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Two basic types of aesthetic experience and their theoretical reflection

Date: 2022- 1 1-03 Browse: 48 1 Good article.

Abstract: The discussion of aesthetic experience is a major turn of modern aesthetics. In the history of aesthetics, there have been different understandings of aesthetic experience. The biggest difference lies in whether the aesthetic experience is subjective or objective. Subjectivism emphasizes that aesthetic experience comes from the long-distance observation of aesthetic objects by aesthetic subjects, thus obtaining a transcendental aesthetic feeling, which can be regarded as a separate aesthetic experience. Objectivism emphasizes that aesthetic experience comes from the feelings obtained by aesthetic subjects actively participating in aesthetic objects, which can be considered as interventional aesthetic experience. These two empirical theories are contradictory, but they are complementary, which brings us new thoughts on the study of aesthetic experience.

Keywords: aesthetic experience; Separated type; Interventional type

A remarkable change in modern aesthetics is to shift the focus of research from the essence of beauty to the discussion of aesthetic experience, because the discussion of the essence of beauty in academic circles has not reached a final consensus for a long time. As early as in ancient Greece and Rome, philosophers' exploration of aesthetic experience was divided into two camps. One is the mysticism camp represented by Plato, who believes that "aesthetic feeling is the memory of the soul's concept of beauty in ecstasy". Prouddin is a representative figure of Neo-Platonism. He defined aesthetic experience as a beautiful formula that only the mind can observe. The Florence School of Renaissance advocated that the concept of beauty must exist in the heart before we can feel beauty.

The other camp is the Aristotle camp. Aristotle believes that aesthetic experience is an extremely pleasant experience obtained through watching and listening. Thomas Aquinas in the Middle Ages accepted and developed Aristotle's theory of aesthetic experience in his book Encyclopedia of Theology. He believes that aesthetic experience is "a kind of pleasure in the impression obtained through harmonious feeling" and emphasizes that this pleasure does not involve human existence.

After 18 and 19 centuries, the definition of the essence of aesthetic experience has become more and more diverse, but it is a subjective explanation and elaboration on the whole. In his History of Western Aesthetic Concepts, Tata Kovitz divided the aesthetic experience after19th century into two categories, one is rational experience, and the other is pure perceptual experience. Pure perceptual experience appeared after positivism, but more because of the great development of art in the 20 th century, it brought about the reflection of aesthetic feelings. This pure perceptual experience highlights the characteristics of aesthetic experience, so it can be considered as an objective aesthetic experience, that is, the separated aesthetic experience mentioned below.

First, the aesthetic experience of separation

In the history of aesthetics, there is a constant debate about aesthetic experience, among which the biggest difference lies in subjectivism and objectivism of aesthetic experience. Subjectivism emphasizes the role of aesthetic attitude, that is, the aesthetic subject keeps a distance from the aesthetic object. This is a separate aesthetic experience with a detached atmosphere inside. The main representatives are Shafzbori, Bloch and Kant.

1, shafzbori's aesthetic "non-utilitarian" theory

16-17th century, British empiricism philosophy rose, emphasizing that perceptual experience is the source of knowledge. On the contrary, Shaftsbury emphasizes that people have an innate sense of order and morality, and thinks that people's aesthetic experience depends on "inner senses", "inner eyes" and "inner rhythm", that is, aesthetic experience also has its own sensory organs. In Shafzbori's view, people distinguish between good and evil, beauty and ugliness not by rational speculative ability, but by a kind of sensory ability, which is as direct as eye discrimination, not the result of thinking and reasoning. He said: "Since we have acquired this ability to recognize and appreciate things in a new way, the mind will see beauty and ugliness in action, spirit and temperament, just as it can see beauty and ugliness in shape, sound and color." Here, he equates beauty and ugliness seen in action, spirit and temperament with beauty and ugliness seen in shape, sound and color, that is, aesthetic feeling and moral sense appear at the same time.

Shaftsbury maintains and clarifies the objectivity of goodness from the viewpoint of the unity of beauty and goodness, so as to achieve the purpose of opposing utilitarianism and subjectivism. However, he did not distinguish between the ability to accept beauty and the ability to feel beauty, and called it moral sense, which will be explained by his successor hutcheson.

2. Kant's theory of aesthetic attitude.

Tatakowitz once said: "In the history of aesthetic experience, the most important event is the integration of British and German ideas at the beginning of19th century, and this integration is based on Mannur? Kant did it. " Kant clearly put forward the theory of "aesthetic indifference" as the cornerstone of his aesthetic theory, and expounded this view systematically and completely.

The problem of disinterest is the basic starting point of Kant's aesthetic judgment theory. Kant believes that "whatever happiness we combine with the appearance of an object's existence is interesting." And "a judgment about beauty, as long as there is a little interest." There will be preferences rather than pure appreciation judgment. " If a person looks at things with some utilitarian value judgments, such judgments are not aesthetic judgments. At the same time, Kant regards aesthetic pleasure as the contradictory unity of sensory pleasure and beautiful pleasure, and connects beauty with morality and cognition to make it an organic whole, so he believes that aesthetic judgment should not be utilitarian. In addition, Kant also compares three different characteristics of pleasure, and draws the conclusion that aesthetic pleasure is different from sensory or moral pleasure.

In addition, Kant also discovered some other characteristics of aesthetic experience. Aesthetic experience is non-utilitarian, non-conceptual and formal. It only involves the form of the object, is the pleasure of all souls, and has irregular universality.

Although Kant systematically explained the utilitarian characteristics of aesthetic experience as the basic starting point of his aesthetic thought, Kant's aesthetic disinterest theory requires the subject to transcend social history and reality and become a pure aesthetic subject, which is very difficult for the subject in the real relationship.

(3) Bloch's "psychological distance" theory?

Bloch's "distance" is neither time distance nor space distance, but a special aesthetic attitude. Bloch thinks: "Distance can also be regarded as one of the main characteristics of aesthetic comprehension-I use the word' aesthetic comprehension' to refer to a special inner attitude and view of experience." The particularity of this psychological distance lies in the psychological distance between subject and object, which is neither very far nor very close. "Near" refers to taking it as the object of actual needs, and "far" refers to the irrelevant attitude towards the object. The distance that is neither too far nor too close is the proper distance between the subject and the object, which frees the subject from people's merit needs, so as to examine the objective object with an aesthetic attitude, thus "it is obtained by separating the object and its attraction from people themselves, and also by getting rid of people's actual needs and purposes".

Aestheticists before Bloch usually used metaphysical methods to study aesthetic attitudes, while Bloch used psychological knowledge to study and describe the characteristics of aesthetic attitudes. However, the defect of his theory is that he unilaterally emphasizes the dynamic role of the aesthetic subject, ignores the objectivity of the aesthetic object, regards beauty as the product of the subjective psychological activities, and ignores the sociality and practicality of the aesthetic subject. His statement that aesthetics is not utilitarian is also one-sided.

Second, the intervention of aesthetic experience

From the end of19th century, pure perceptual aesthetic empiricism appeared, emphasizing that aesthetic experience is pure perceptual and pure ecstasy. At the beginning of the 20th century, there were more and more similar words. After modern times, aestheticians believe that there is a special feeling to maintain aesthetic experience, and then they look for this feeling and describe it. Like Clive? Bell, Dewey, Richards and so on. The common point of their theories is that they all emphasize that experience comes from the active participation of the aesthetic subject in the aesthetic object, and the aesthetic feeling obtained by the stimulation of the aesthetic object is an intervening aesthetic experience.

1, Clive? Bell's "meaningful form"

Clive. Bell's theory is based on the rise of impressionism in the early and late 20th century, and came into being under the background of thinking about art forms. In Bell's view, beauty itself is a kind of goodness, and appreciation of art itself is also good. It is "itself unanalyzable" and "undefined", which is embodied in the intuitive grasp of the object of beauty. The value of this kind of art is internal (Bell divides the value into "internal" and "external", such as the value of science is external and the value of art is internal). Since the appreciation of art is good, the appreciation of beauty in art must be special.

In order to solve this special emotion or experience, Bell proposed that art is a "meaningful form". This is Bell's attempt to find a common aesthetic essence for the whole world art, which exists in all objects that can arouse our aesthetic feelings. The meaningful form is the combination of color and line relationship, which gives people an aesthetic form. In Bell's view, it is a pure relationship composed of various elements (color, lines, sense of space, etc.). ) It is objective in works of art and aesthetic. In aesthetic activities, the subjective aesthetic emotion can grasp this objectivity, and then rise to aesthetic experience. Because art form is closely linked with metaphysical reality, "the appreciation of pure form makes us feel ecstatic, and we feel completely detached from all concepts related to life." In this sense, Bell equates aesthetic experience with religious experience, and thinks that "art and religion are two ways for people to get rid of the real environment and reach the realm of selflessness. Aesthetic ecstasy and religious fanaticism are two unified factions, and art and religion are both means to achieve the same psychological state. " However, the aesthetic experience produced by art also has its own characteristics. In Bell's view, aesthetic experience is a feeling experience of metaphysical entity, which has the characteristics of selflessness, profundity and transcendence.

Clive bell's aesthetic experience, starting from the artistic form, triggered the same absolute experience as metaphysics, with the characteristics of ecstasy, ecstasy and transcendence. This is different from the intervention attitude theory that emphasizes the role of the subject, and it is a necessary condition for the emergence of aesthetic experience. Clive bell not only puts forward that the condition of aesthetic experience is "form", but also further puts forward that the aesthetic subject participates in aesthetic experience through the special aesthetic emotion brought by form, which highlights the characteristics of aesthetic experience itself, which is different from attitude theory.

2. Dewey's pragmatic aesthetics;

Dewey is the representative of pragmatic aesthetics. He thinks that there is little difference between aesthetic experience and daily life experience. First of all, he explicitly opposed to separating the aesthetic experience of works of art from the life experience. He pointed out: "When the artistic object is divorced from the conditions when it was born and the operation in experience, a wall is built around it, which causes the general meaning of this object, which is handled by aesthetic theory and becomes almost incomprehensible. Art was sent to an independent kingdom, isolated from all other forms of human efforts, experiences and achievements. " In order not to cut off the connection, Dewey proposed to "restore the continuity between the exquisite and intense experience form as a work of art and the universally recognized daily events, activities and sufferings that constitute experience." Secondly, he emphasized that experience occurs in the process of interaction between man and environment. After constant struggle and overcoming difficulties, the body adapted to the environment, and aesthetic experience sprouted. It is also one of the daily life experiences. Thirdly, Dewey put forward that the characteristics of aesthetic experience are embodied in the dynamic process of mutual infiltration of means and ends. Every aesthetic experience is a dynamic and complete process, and the product of aesthetic experience-meaning remains in the subject's mind, leaving the subject with complete, perfect and rich aesthetic enjoyment.

Richards distinguished between aesthetic experience and non-aesthetic experience on the basis of Dewey. He believes that the difference between them is not a kind of difference, but only a difference between different systems of the same activity, that is, the difference between them is not qualitative, but quantitative. Aesthetic experience is more organized, consistent, complex and subtle than daily experience. The "meticulous", "subtle" and "fine" here are all described from the aesthetic experience itself, which refers to the characteristics of the aesthetic experience itself.

Third, the theoretical analysis of two kinds of experience

The greatest feature of the aesthetic experience of separation is "transcendence". Aesthetic attitude should transcend the utilitarian consciousness of daily life and achieve a temporary detachment, in short, it is the transcendence of practical utility. This transcendence also includes the transcendence of human emotions and other functions and the transcendence of morality. The last significance of aesthetic transcendence is that it is the continuous transcendence of aesthetic happiness itself, which is reflected in the continuous transcendence and promotion of aesthetic happiness and eventually goes to extremes. Schopenhauer's meditation, Bloch's "psychological distance" and Kant's non-utilitarian theory all have something in common that emphasizes the transcendence of aesthetic attitude. On the other hand, because the separated aesthetic experience focuses on the aesthetic subject, the process of aesthetic experience is regarded as a movement from subject to object. Aesthetic experience is the product of the emotion and attitude of the aesthetic subject acting on the object, and its biggest defect is that it ignores the objectivity of aesthetic experience.

Dickie, an analytical aesthete, criticized the aesthetic attitude in the article The Myth of Aesthetic Attitude, which brought us new thoughts. He said: "I will think that the mistake of attitude theorists lies in:

(1) In this way, he hopes to set the boundary for aesthetic relevance;

(2) criticizing the association of artistic works.

(3) The relationship between morality and aesthetic value. "Say first.

At point (1), Dickie thinks that the theory of aesthetic attitude has fallen into a certain degree of conceptual ambiguity and confusion, so that there is no psychological state of "aesthetic attitude". At the same time, aesthetic attitude separates all the whole human experience and distinguishes the original inseparable experience, thus deviating from real life with a "mythical" attitude. sequence

(2) What Dickie wants to explain is that the concepts of critics and works are different from those of ordinary aesthetic appreciators. sequence

(3) First of all, Shaftsbury's "non-utilitarianism" is related to morality, but the moral aspect of art can never be defined by aesthetic attention defined by non-utilitarianism, because morality is related to practice. However, statements from the perspective of morality of artistic works are all statements about works and should belong to the field of aesthetics. What he opposes here is to distinguish moral criticism from aesthetic criticism of art.

The overall feature of interventional aesthetic experience is interactivity. It regards the process of aesthetic experience as a movement from object to subject, and aesthetic experience is the result of object stimulation or action on subject. The aesthetic object stimulates or transmits some sensitive information to the subject because of its own form. Because the general feature is interactivity, the subject will also feed back the received information into the description of aesthetic experience, such as ecstasy, profundity, transcendence, meticulous, subtle and a series of descriptive words. More importantly, aesthetic experience and daily life experience are not isolated. They are different systems with the same activity and share something with each other. For example, the world depicted in poetry is the world in daily life, but it is more subtle and profound through the organization of poetry. One of the defects of intrusive causality theory is that the characteristics used to summarize aesthetic experience, such as exquisiteness, subtlety, unity and coherence, are actually the characteristics of the objects that cause aesthetic experience, such as works of art, which is a confusion. Second, it ignores the initiative of aesthetic subject. In aesthetic activities, the subject is active and dynamic. Hume once suggested that beauty "only exists in the hearts of connoisseurs, and different hearts will see different beauty". Ducas also believes that in the field of aesthetics, "everyone is the absolute monarch who thinks independently", and only the ego is the "final and correct judge".

conclusion

Looking at these two theories comprehensively, the separated aesthetic experience emphasizes the subject, which is understood as the subject's experience of feeling, experiencing and creating beauty, and equates the aesthetic experience with the subject's aesthetic consciousness or partial aesthetic consciousness. Interventional aesthetic experience understands aesthetic experience as a certain factor determined by the aesthetic characteristics of aesthetic objects from the aspect of objects. The author thinks that both of these understandings are biased.

In fact, the process of aesthetic experience is neither a simple movement from object to subject nor a simple movement from subject to object, but the result of the interaction and two-way movement between subject and object. It should be said that aesthetic experience is the accumulation and condensation of the subject's feelings, experiences and impressions of aesthetic objects in a series of aesthetic activities. It is constantly enriched and evolved in the synchronic and long-term interactive relationship between aesthetic subject and object, not just a unilateral movement of subject consciousness or spirit. In other words, the aesthetic experience can neither be attributed to the aesthetic consciousness of the subject nor to the inherent aesthetic attributes of the object. This requires modern science to pay attention to the study of the interaction process between aesthetic subject and object, and to give a scientific explanation of the special psychological mechanism and physiological basis formed in it. Furthermore, aesthetics, as a complex and special psychological process, can not be directly reflected as the only concrete object, but needs the intermediary of aesthetic subject and some psychological structures, that is, the intermediary of aesthetic experience. This also needs the help of scientific explanation.

References:

[1] Editor-in-Chief, Department of Aesthetics, Department of Philosophy, Peking University: Western aestheticians on beauty and aesthetic feeling, Beijing. The Commercial Press Edition, page 34.

[2] Shaftsbury: "On characteristics (miscellaneous feelings about people, customs, opinions, times, etc.). ) ",A Study of Shaffsbury Aesthetics, Journal of Central China Normal University, No.2. 。

[3] operator? Tadakevich History of Western Aesthetic Concepts (translated by Chu), Beijing. College Press, page 440.

[4] Editor-in-Chief of the Teaching and Research Section of Peking University Academy of Philosophical Aesthetics: "Western aestheticians on beauty and aesthetic feeling", Beijing. The Commercial Press, p. 152.

[5] Jiang Kongyang: "Introduction to 20th Century Western Aesthetic Masterpieces", Shanghai. Shanghai Fudan University Press, Edition, page 24 1.

[6] Dewey: "Art is Experience" (translated by Gao Jianping), Beijing. The Commercial Press, Edition, page 3.

[7] Dickie: "The Myth of Aesthetic Attitude", quoted from "After the End of Art" (by Liu Yuedi), Nanjing. Nanjing Publishing House, Edition, p. 140.

[8] Institute of Literature, China Academy of Social Sciences: On Interest Criteria and Translation of Classical Literary Theories, Beijing. Intellectual property publishing house, volume 5, page 4.

[9] Judy: Aesthetic issues, Shaanxi. Shaanxi People's Publishing House, ed., p. 5 1.

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