The notion of disinterestedness has been argued many times over in whether such a radical ideology of the judgement of taste can be presented. The judgment of beauty can be perceived in different ways, as either a rationalist or empiricist. However, Kant proposes a third way, in which beauty is viewed with both cognitive and agreeable elements. Disinterested pleasure is the purest form in which an artwork can be viewed, leaving the viewer free from restraints of the reality behind the piece. Yet, if disinterested pleasure applies to all aspects of art, would no desire be felt when looking at even the female nude? Friedrich Nietzsche was a nineteenth century German philosopher that has argued against Kant’s notion of disinterestedness, leaving …show more content…
Disinterested pleasure is proposed by Kant to be the purest form of an aesthetic judgment, leaving the viewer able to look past any outside concerns, conforming with reality. With this process the spectator should be able to experience the art work free from their own desires or interests. A perfect example would be The Pond at Montgeran (Monet, 1876) that depicts a picturesque scene of a pond, rimmed with trees, that any spectator could appreciate the beauty of but not left harbouring desires for. Even though judgements of taste “cannot be other than subjective” (Kant, 2007: 1), it also has an element of the universal voice. Although everyone has different ideals of beauty, humans as a unit can collectively agree on what is beautiful with the use of their cognitive and agreeable faculties. However, can disinterestedness be defended if the universality of it is broken down and splintered? Friedrich Nietzsche disregards the notion of universality based on an individual’s preferences and even sexual orientation. Nietzsche backs us his point, …show more content…
It has been stated many times over that to make a true judgement of taste, one must do so without any influence of their own interests or emotions. Yet, that cannot be probable without scourging the viewer of their identity and very essence of being. No-one can be expected to look upon a work with “disinterested pleasure” when the very purpose of art is to act as a catharsis, an emotional cleanser for the spectator. Works of art also play a vital role in provoking emotion, bringing out the most humanitarian responses from people when confronted with a passionate work of art. Politican art relies on the reactions and emotions of the viewer to be truly dynamic and stimulating. One of the main purposes of art is to confront its audience into reflection. Pablo Picasso does this impressingly, backing the point of Clive Bell but disregarding him simoultaniously, through his piece The Charnel House (Picasso, 1944-45) that controversially portrays the astrocities of the Holocaust, leaving the viewer with no other choice but to react to such a strong depiction of mankind’s violence on one another. Bell, although contradicting himself, promotes the idea that a personal connection to an emotion can help the reaction one has when viewing art. He writes “the starting-point for all systems of aesthetics must be the personal experience of a peculiar emotion. The objects that provoke this
We have grown weary of man. Nietzsche wants something better, to believe in human ability once again. Nietzsche’s weariness is based almost entirely in the culmination of ressentiment, the dissolution of Nietzsche’s concept of morality and the prevailing priestly morality. Nietzsche wants to move beyond simple concepts of good and evil, abandon the assessment of individuals through ressentiment, and restore men to their former wonderful ability.
Nietzsche uses a subjectivity fallacy, also known as a relativist fallacy. A subjectivity fallacy means if
This book was also one of my first encounters with an important truth of art: that your work is powerful not because you convey a new emotion to the audience, but because you tap into an emotion the audience already feels but can't express.
He clarifies his interpretation of aesthetic value, rejecting the traditionally narrow notions regarding beauty and composition, and expands his view to include insights and emotions expressed through the medium. Explaining that he views overall value as an all-things-considered judgement, he asserts the ethicist’s duty to contrast the aesthetic with the ethical and determine the extent to which one outweighs the other. Gaut calls on readers to defy the popular paradigm equating beauty with goodness and ugly with evil, allowing for great, yet flawed pieces of
Before you begin reading this paper, look through the appendix. Are you shocked? Disgusted? Intrigued? Viewers of such controversial artwork often experience a wide spectrum of reactions ranging from the petrified to the pleased. Questions may arise within the viewer regarding the artistic merit and legitimacy of this unorthodox artwork. However, art's primary purpose, according to Maya Angelou, “is to serve humanity. Art that does not increase our understanding of this particular journey or our ability to withstand this particular journey, which is life, is an exercise in futile indulgence” (Buchwalter 27). To expand on Angelou's analogy, because everyone experiences a different life journey, art is different to everyone. In other words, art is subjective to the viewer. The viewer creates his own definition of what is art and what is not art. Some may recognize the artistic value of a piece of artwork, while others may find it obscene. Some may praise the artwork, while others will protest it. Censorship is derived from these differing perspectives on artwork. Through censorship, communities seek to establish boundaries and criteria that limit an artist's ability to produce “proper” artwork. However, some artists choose to ignore these boundaries in order to expand the scope of art and, in their view, better serve humanity.
In existential thought it is often questioned who decides what is right and what is wrong. Our everyday beliefs based on the assumption that not everything we are told may be true. This questioning has given light to the subjective perspective. This means that there is a lack of a singular view that is entirely devoid of predetermined values. These predetermined values are instilled upon society by various sources such as family to the media. On a societal level this has given rise to the philosophy of social hype. The idea of hype lies in society as the valuation of something purely off someone or some group of people valuing it. Hype has become one of the main driving forces behind what society considers to be good art and how successful artists can become while being the main component that leads to a wide spread belief, followed by its integration into subjective views. Its presence in the art world propagates trends, fads, and limits what we find to be good art. Our subjective outlook on art is powered by society’s feedback upon itself. The art world, high and low, is exploited by this social construction. Even when objective critique is the goal subjective remnants can still seep through and influence an opinion. Subjective thought in the art world has been self perpetuated through regulated museums, idolization of the author, and general social construction because of hype.
The nature of aesthetics has puzzled many, where questions and reflections about art, beauty, and taste have intersected with our understanding of what a real art experience truly is. The notion of the aesthetic experience, an experience that differs from the everyday experiences, has been given great consideration by English art critic Clive Bell and American philosopher John Dewey since the beginning of the 20th century. Both have spent much deliberation on the distinctive character of aesthetic experience; yet have complete opposing ideas on how to go about understanding aesthetic experience’s ecosystem. Bell takes a formalist approach, as he thinks that to understand everything about a work of art, one has to only look at the work of art.
Solomon, Robert C., ‘Nietzsche ad hominem: Perspectivism, personality, and ressentiment,' in The Cambridge Companion to Nietzsche (Cambridge: Cambridge University Press, 1996), 180-222.
Since its emergence over 30,000 years ago, one of visual art’s main purposes has been to act as an instrument of personal expression and catharsis. Through the mastery of paint, pencil, clay, and other mediums, artists can articulate and make sense of their current situation or past experiences, by portraying their complex, abstract emotions in a concrete form. The act of creation gives the artist a feeling of authority or control over these situations and emotions. Seen in the work of Michelangelo, Frida Kahlo, Jean Michel-Basquiat, and others, artists’ cathartic use of visual art is universal, giving it symbolic value in literature. In Natasha Trethewey's Native Guard, Kazuo Ishiguro’s Never Let Me Go, and Joseph Conrad’s Heart of Darkness,
Nietzsche’s Genealogy of Morals can be assessed in regards to the three essays that it is broken up into. Each essay derives the significance of our moral concepts by observing
Philosophies of Art and Beauty Edited by Hofstadter and Kuhns, (Chicago: University of Chicago press, 1976) chapters one and two for an overview of the aesthetics of Plato and Aristotle.
“The great variety of Taste, as well as of opinion, which prevails in the world, is too obvious not to have fallen under every one’s observation”(text pg 255), Hume states in his opening. He then points out, “Every voice is united in applauding,”(text pg 255) all kinds of values like “elegance” and “simplicity” that are supposedly seen in an object. Hume is conveying the idea that every person has their own unique tastes in art and they all seem to agree on the aesthetic value of an object. He then brings in the critic who analyzes the pieces of the object and proposes that all previous judgments were not accurate. Hume says, “But when the critic comes to particulars, this seeming unanimity vanishes”(text pg 255). The job of t...
...ot resent during Nietzsche's lifetime. However his ideas of how individual perspectives and will are shaped or influenced within a given culture are very much observable in these media forms. Mass culture as propagated by the media has imposed certain moral considerations and values on individuals that they may not necessarily have subscribed to. In effect this has led to individuals how function like zombies, following blindly concepts carried by the media as the only real issues. The mass culture advanced by the media has advanced some form of complacency that has restricted issues under consideration and that need attention by human beings. The scope of human thinking, as well as their autonomy in making decisions, has been taken away as individuals continue to operate like robots being directed by other entities, perhaps for easy political and social management.
Clive Bell theorizes art in terms of a theory known as Formalism. Formalism is based upon a relatively simple line of logic. All art produces in the viewer an emotion. This emotion is not different but the same for all people in that it is known as the Aesthetic Emotion. There must be a factor common to all works of art that produces in the viewer a state of Aesthetic Emotion thus defining the works as art. This common factor is form. Formalism defines artworks as that which has significant form. Significant form is a term used by Bell to describe forms that are arranged by some unknown and mysterious laws. Thus, all art must contain not merely form, but significant form. Under Formalism, art is appreciated not for its expression but instead for the forms of its components. Examples of these forms include lines, curves, shapes, and colors. Abstract art, twentieth century, or modern art such as color field painting or the works of Mondrian, are examples of art that are not representative and thus are most lik...
Pragmatic criticism is concerned, first and foremost, with the ethical impact any literary text has upon an audience. Regardless of art's other merits or failings, the primary responsibility or function of art is social in nature. Assessing, fulfilling, and shaping the needs, wants, and desires of an audience should be the first task of an artist. Art does not exist in isolation; it is a potent tool for individual as well as communal change. Though pragmatic critics believe that art houses the potential for massive societal transformation, art is conspicuously ambivalent in its ability to promote good or evil. The critical project of pragmatic criticism is to establish a moral standard of quality for art. By establishing artistic boundaries based upon moral/ethical guidelines, art which enriches and entertains, inspires and instructs a reader with knowledge of truth and goodness will be preserved and celebrated, and art which does not will be judged inferior, cautioned against, and (if necessary) destroyed. Moral outrage as well as logical argument have been the motivating forces behind pragmatic criticism throughout history. The tension created between this emotional and intellectual reaction to literature has created a wealth of criticism with varying degrees of success. Ironically, much like art's capacity to inspire diligence or decadence in a reader, pragmatic criticism encompasses both redemptive and destructive qualities.