In this blog post, we explore whether it is possible to appreciate art without prejudice and with an aesthetic attitude based on Stolnitz’s theory.
Stolnitz argues that everything we perceive with an aesthetic attitude becomes an aesthetic object. This aesthetic attitude differs from the practical attitude of perceiving an object based on its usefulness. The aesthetic attitude he refers to is an attitude of “contemplation” that is “indifferent” and “empathetic” toward the object perceived by the viewer, regardless of whether it is a work of art or not.
The “indifferent” in Stollnitz’s aesthetic attitude is different from “disinterested,” which means not caring about the object. Indifference means not looking at the object with the purpose of using or manipulating it to get something. In other words, indifference means looking at the object with interest as it is seen and felt, without any vested interest in it. For example, when someone sees an apple, they do not look at it with an interest in gaining knowledge or profit, but rather with an interest in the apple itself.
This indifferent attitude contrasts sharply with the practical attitude we often encounter in everyday life. The practical attitude views objects as means to an end and includes expectations about what benefits they will bring. For example, when a carpenter looks at a tree, he considers what he can make with it and how valuable the product will be. On the other hand, someone who looks at a tree with indifference enjoys and appreciates the grain, color, scent, and shape of the tree itself.
“Empathy” means that when the viewer responds to an object, they accept it based on the conditions of the object itself. To do this, the viewer must suppress reactions such as beliefs or prejudices that separate them from the object. Otherwise, the possibility of the object being perceived as interesting by the viewer will disappear. For example, it is not empathetic for a viewer to reject a sculpture intended to praise a particular god because it differs from their religious standards.
An empathetic attitude is especially important when viewing contemporary art. Contemporary artworks go beyond traditional aesthetic standards and attempt various forms of expression, so it is difficult to recognize their true value if approached with existing prejudices or preconceptions. Viewers must strive to understand the intention and form of expression of the artwork with an open mind, through which they can form a deep connection with the artwork.
Finally, “contemplation” does not mean simply staring, but rather actively paying attention to the object. Contemplation can also occur in conjunction with other activities. For example, when listening to music, the listener may concentrate on the music and tap their hands to the beat of the melody. However, actively paying attention to the object is not the only meaning of contemplation. In order to appreciate the unique value of an object, it is necessary to carefully examine even the most complex and delicate details. The ability to sensitively perceive these delicate details is discernment.
In other words, if you have discernment and contemplate, you can have a richer aesthetic experience. This discernment can be cultivated by repeatedly experiencing works of art, studying knowledge such as the techniques of expression and the components of works, and undergoing technical training in art forms. This involves not only viewing many works, but also analyzing each work in depth, comparing them, and striving to understand their aesthetic value. Understanding the historical background of a work of art, the artist’s intentions, and the social context also helps to improve discernment.
Through this process, viewers can enjoy a richer and deeper aesthetic experience, which ultimately leads to a true appreciation of the value of aesthetic attitudes. Stolnitz emphasizes that aesthetic attitudes are not mere hobbies or entertainment, but important elements that enrich human life and promote emotional growth.
