I am not sure I am answering your aesthetics questions satisfactorily (I certainly have not answered it directly, but think my position can be seen). Feel free to point out where you would like me to state something more directly. — ZhouBoTong
I’ll start with a joke: An artist presents his much anticipated work at a gallery. It’s a large blank canvas. A commoner askes the artist what it’s supposed to be. The artists proudly expresses that it’s a never before so perfectly depicted scene of a cow amid fields of grass. The simpleton asks, “Where’s the grass?” The artist explains that the cow ate it all. “OK, but where’s the cow?” the commoner then asks, still being thoroughly bewildered. The elite artist replies, “The cow walked away in search of other pastures, of course!”
This is my shortcut way of again expressing that I agree with the view that too much of modern art is … well, not good art. My main contention in this thread, though, is that there is such a thing as better and worse aesthetics. I assume that if the just mentioned joke makes any sense, this truism of better and worse aesthetics is at the very least implicitly acknowledged.
Movies and books that average one star reviews, for example, can then be deemed to typically hold poorer aesthetics (this relative to the average human ) than those which average four star reviews or greater.
Since the issue of aesthetics in general, as I broadly understand it, does tie in with one of
@Terrapin Station 's recent posts to me, I’ll mention his observation:
Claiming that something is the case for most people for something like this would require empirical studies that no one has done. — Terrapin Station
Very many attributes pertaining to the average human psyche are not possible to empirically demonstrate (as least not currently). As one example, it is impossible to empirically demonstrate that most people out there experience the same exact thing we do in relation to what we all address as the color red—yet there is good reason for all of us to hold this belief to be true. To my mind, this gets into heavy duty issues of epistemology—many being very contentious—of which I have no interest to investigate in this thread.
Nevertheless, it is true that this general aspect of epistemology does apply to issues such as those of imagination (e.g., what of this faculty is commonly experienced among at least most humans, what then constitutes more of it for most humans, and, in consequence, what best improves it for most humans—here of interest, known human conditions pertaining to visualizations can range from photographic memory to aphantasia (the inability to visualize) … and this doesn’t even touch on things such as imagined smells, tastes, etc., or the more complicated forms of conceptual imagination—which is how new theories are for example produced); it likewise applies to the attribute of intelligence (e.g., intelligence’s definition is currently controversial, which of itself makes IQ tests less than objective/unbiased … yet, correlations between IQ scores and other human capabilities often do hold statistical importance), and—here skipping a potentially very long list of psychological attributes—the same epistemological issue also applies to the human capacity to experience aesthetics (an experience not shared to any degree with most lesser animals, and only somewhat with lesser animals of greater intelligence).
Again, without wanting to get into epistemological debates about all of this: As we typically hold good reason to uphold that all humans experience the same quality of color when claiming to see the color red, and that imagination and intelligence as we experience it is something universal to humans at large, so too do we hold good reason to presume that experiences of the aesthetic are universal to humans at large. Likewise, as we hold good reason to judge that some reds are redder than others, and that imagination and intelligence can be more/greater/better, so too can we then hold good reason to judge that some givens are more aesthetic than others (i.e., that some givens hold better aesthetics).
I offer these (imo, generally accepted) perspectives without in any way denying that beauty is in the eye of the beholder, or that variations in magnitude of aesthetic experience can, and likely do, occur among different humans (e.g., the professional musician can be argued capable of finding far more beauty in a liked melody than the typical tone-deaf non-musician who enjoys the same melody; or a mathematician to find more beauty in a mathematical paradigm than the non-mathematician who also likes the same mathematical paradigm; etc.).
Hence, I take the psychological issue of aesthetics to be a very complex topic—and the background I just offered serves to illustrate some of the complexities I find in it. But—just as can be said of imagination, intelligence, introspection, joy, suffering, etc.—I very confidently believe that aesthetics too can be better and worse, or greater and poorer, or more in comparison to less. This despite the epistemological complexities involved.
Having addressed this summarized general understanding (which might be contentious for some) in the hopes of better illustrating where I’m coming from, what I basically wanted to find out is the following:
I was curious about whether or not your own experiences of the aesthetic can be described by the three descriptions I previously offered. In sum:
- Experienced aesthetics are emotive experiences (akin to those of wonder).
- Aesthetics are a narrow subset of experiences of attraction in general (such that not all attraction-toward constitutes the aesthetic—although aesthetic experiences always attract).
- That which we find aesthetic becomes an aspect of our extended selves—such that its value becomes in some ways to us intertwined with the value of our own being (e.g., regardless of what one finds aesthetic, when it is cruelly insulted, demeaned, or laughed at by others we feel ourselves to be hurt to some degree and in some way; everything from feeling ourselves to be insulted (rather than some object out there in the world which we are not) to feeling ourselves to be somewhat lonely, or isolated—with the converse applying when we encounter others whose aesthetic tastes overlap with our own).
I wouldn’t be surprised that these three descriptors of the aesthetic would not be universally attested to by all humans. But, if not, I would then be curious to understand what “aesthetics” then signifies to such individuals; importantly, such that the understanding yet conforms to the common usage of the term.
It seems to me that once we can roughly agree upon what the aesthetic is as a generalized experience, we could then better address whether or not aesthetics can be better and worse.
I agree with much of your latest post, btw. I’ll reply to it later on.