The Aesthetic Principle and a Factor in Art - Essay Example

 «The Aesthetic Principle and a Factor in Art» Physical distance refers to the connection that an individual has with an aesthetic work or object. Significant form refers to significant associations between color, shapes, lines and other sensory elements. There have been a number of thinkers who have illustrated what they presume to be the adequate aesthetic reaction. While some of the thinkers’ views differed largely, there were also connections amongst them. Thinkers Bell and Bullough were among the most prominent philosophers who gave their views on the aesthetic response. While Bell and Bullough’s notion differed, connections could also be established with regard to what the accurate aesthetic response is when looking at an object or work of art. Bell proposes a unique aesthetic sentiment in reaction to significant form, in objects or works of art. On the other hand, Bullough focuses on physical distance as an aesthetic principle and a factor in Art (Arnold and Iverson 63). This paper will look at Bullough and Bell’s views in response to the question. According to Bullough, distance plays an essential part in generating an authentic aesthetic response. Bullough supposes that there has to be a quantity of distance gained between an object or work of art and a viewer. This will make the observer understand the object or work of art. On the other hand, Bell’s views are draw from Kant. Both Kant and Bell agree that an object or work of art can neither be intrinsically moral nor cognitive. In addition, they both agree that the value of an object or work of art is found in its form alone. Bell’s notion of significant form is representative in its clarity. Bell perceives the aesthetic response on the basis of a global standard and the source of the aesthetic emotion in the work of art or object (Arnold and Iverson 73). It may be valuable to approach an art object or work with physical distance and focus on its significant form because of several reasons. First, when the appropriate distance is observed, splendor can be observed and realized in an object or work of art. This does not mean that an artist or observer should be impersonal with regard to art, but instead the viewer should separate himself emotionally and physically enough, so as to attain an accurate aesthetic response to an object or work of art. It is also essential to focus on a significant form of an object or work of art (Arnold and Iverson 76). Moreover, focusing on its significant form will assist an individual to focus at a work of art without preconceptions and predispositions and without being preoccupied by extraneous connections with the work or object of art. Second, according to Bullough, if a viewer does not position himself at an appropriate distance away from the object or work of art, he will become excessively enclosed in his own life. For example, in Othello, the jealous spouse looking at the play cannot realize it because he is so much entangled by how the play is personally affecting his life. In contrast, if the viewer is extremely far from the object or work of art, he will become a critic, and this will result in censorship. In Bell’s view, significant form will help stir the viewer’s aesthetic emotion. A person who is criticizing an art work may assist other viewers to observe form and experience the resultant emotions (Arnold and Iverson 78). This will make the emotions lofty and remarkable. Third, it may also be essential to approach an art object or work with a close physical distance. This will determine the effect of an art work on an individual. If the viewer is distant so far from work or object of art, he will not be interested on the manner in which the object or work of art affects him. For Bullough, it is essential for the viewer to be affected for them to experience any form of response. Nonetheless, from Bell’s view, impressive art works or objects get their magnificence, their influence, not from the viewer’s comprehension, not from characterization, nor from their insights, but from the significant form. This means the art work is of formal quality (Arnold and Iverson 79). Also, significant form will assist in explaining things because it entails shape, order, movement, and sequence. Limits Nevertheless, this approach will have limits. First, there will be an issue with knowing the correct size of distance to maintain. This will affect a viewer’s aesthetic response when looking at an object or work of art. Bullough presumes that mastering the correct distance when viewing an art work is an extremely confusing and difficult task. This is because the amount of distance needed is different from one viewer to another. In addition, if a viewer is aware of his struggle to maintain the correct amount of distance, this will make a person have an incorrect aesthetic response. The view of significant form will also produce a circular argument (Arnold and Iverson 82). This is because a viewer of a work of art cannot explain why an object or work of art is pleasant. Second, this approach may be inaccurate. According to Bullough, all viewers have the same issue with distance. He presumes that if the worker gets extremely implicated with his feelings in his work, then the denotation can be inarticulate for viewers, and the response will be different from what the worker has planned for the viewers. On significant form, there is a distinct differentiation between aesthetic and further feelings. The value and power of art works is related to their communication meaning (Arnold and Iverson 82). Therefore, the formal features constitute the words used in communicating the meaning. Conclusion In conclusion, when discussing why it may be valuable to approach an art object or work with physical distance and focus on its significant form, it is essential to know what physical distant and significant form entails. The essay gives a brief explanation on the views of Bullough and Bell before incorporating them into the task. It is also vital to highlight the importance of appropriate distance, the flaws of an inappropriate distance, and the key contributions of significant form. Finally, the essay assesses the limits of the approach. Work Cited Arnold, D., and Iverson, M. Art and Thought. New Jersey: Blackwell, 2003. Print. Read More