Aesthetics

Random thoughts on random topics

Martin Stokhof Wittgenstein Tags: ,
Beijing Guozijian

On the scope of aesthetic judgements

In Lectures on Aesthetics Wittgenstein makes a curious distinction, between our appreciative judgements about, e.g., the proportions of a door, or the way a certain piece of music is performed, and our attitude towards such things as a Gothic cathedral or a Beethoven symphony. With regard to the latter, I think this is one of the points where Wittgenstein’s romanticist attitude comes to the fore. What he seems to be referring to is much like Kant’s notion of ‘das Erhabene’: the effect of art that connects us with the sublime, that which ultimately defies any form of expression or justification. (Cf., ‘The sublime, in the strict sense of the word, cannot be contained in any sensuous form, but rather concerns ideas of reason.’ Immanuel Kant, Critique of Judgement, Book II, 27) Aesthetic judgements, on the other hand, although also not always capable of explicit expression, do form part of a system of rules and norms, a system that develops over time, and may be relative to a culture.

However, for Wittgenstein there is a connection between the two. As he states in Culture and Value, a culture is a way (one way, among many) of expressing value. Thus, a system of aesthetic judgement, such as that of Western classical music, is concerned with a particular way (or set of ways) of expressing value. Thus we can at the same time have (often very sophisticated) judgements about how to perform, say, a Beethoven symphony, judgements that may develop over time, yet at the same time be aware of what it is that music expresses, or, we should rather say, hints at: the value that transcends those (relative) system of judgements.

Martin Stokhof
from: EOL Discussion Board
date: spring 2008

Rambling thoughts on random topics

Martin Stokhof Wittgenstein Tags: ,
New Cathedral, Salamanca

“Ethics and aesthetics are one”

The internal relation between ethics and aesthetics that Wittgenstein suggests in this statement is difficult to come to grips with. However, it is clear that whatever the commonality, there is also difference. 

To start with the latter, aesthetic judgements are expressible, in language, by means of gestures, facial expressions, tone of voice. But ethical judgments are not. Aesthetic judgments form a practice, a system of norms, actions, objects, that is shared by a community. With that comes relativism: over time, and also contemporaneously, over communities. But ethical values are universal. In these (and related) respects ethics and aesthetics are definitely not one. 

The counterpart of an aesthetic practice in the realm of ethics seems to be a moral practice. Moral judgements, too, are expressible, are based on norms that are shared in a community, and thus form a practice . And like aesthetic practices, moral practices, too, display relativism, over time and contemporaneously.

Now for the commonality. As we have argued elsewhere (World and Life as One, chapter 4), morality can be regarded as instrumental with respect to ethics: that is to say, moral norms are not expressions of absolute value, but are instruments that can be used to realise those values. If “being in harmony” with whatever way the world is constitutes the absolute ethical goal, then the moral norms of a community serve as the reflection of those contingent, but relatively stable aspects of the world that this community finds itself in that are morally relevant in that are conducive to the realisation of that ethical goal.

Could we construct a similar relationship in the domain of aesthetics between the absolute and the relative-instrumental? There are at least two reasons to think so. 

First of all, there is the short reference to the sublime in the Lectures on Aesthetics: the gothic cathedral, the Beethoven symphony. These are objects that transcend the rules of aesthetic practices, in much the same way as absolute ethical value transcends the rules of moral practices. It is the nature of the sublime, its absoluteness, that is responsible for that. From that angle, we can view an aesthetic practice as instrumental with respect to the sublime. Engaging in aesthetic practices is a way of preparing oneself for what transcends it, viz., the creation and experience of works that are sublime.  

Secondly, there is the discussion in Culture and Value of the expressive relation between civilisation (culture) and human value. A civilisation, Wittgenstein argues, is a contingent expression of absolute value, and the disappearance  of a particular such expression (much as we may regret it) leaves the absolute value untouched. What is important to note is that what Wittgenstein identifies as expressions of the sublime, of the absolute, are exactly that: expressions, not the thing itself. (Recall the finger pointing to the reflection of the moon.) 

Here we do well to recall Wittgenstein’s characterisation of his ethical experiences in A Lecture on Ethics: these, too,  are emphatically mere expressions, and not the values themselves. Thus, expressions may differ, and will differ, according to the moral or aesthetic practices that they are a part of. And the variation may even extend to the individual level. 

Martin Stokhof
from: EOL Discussion Board
date: spring 2020

Random thoughts on random topics

Martin Stokhof Wittgenstein Tags:
North Sea

On natural phenomena as aesthetic objects

Are natural phenomena (objects, events) aesthetic objects in the Wittgensteinian sense? There is no doubt that we apply  adjectives such as ‘beautiful’ to things like sunsets, landscapes, people. But what does that mean? Are there norms that we apply?  Do we compare one phenomenon with another? Last night’s sunset with this one? The landscape before our eyes with the one we saw in a movie? This person’s face with that of our favourite movie star? 

In the last case it seems that we do indeed compare and also that we are able to express the reasons for our evaluations to some extent. In the case of sunsets this is far less obvious. Is there a sense in which this sunset is more beautiful than last night’s? More spectacular perhaps, yes. But more beautiful? And if we compare landscapes, aren’t we just  expressing preferences? (“I hate woods, give me open skies any day.”)  

We can sharpen the issue somewhat by asking about the role of two key features of aesthetic practices in Wittgenstein’s sense: training and expertise, and directed discontent. 

As for training and expertise, we have no problem in acknowledging that some people are better than we are in judging the quality of a musical performance, or that of a painting, or a sculpture. That is why we seek to learn from them and so develop our own skills and our own appreciation of a given kind of aesthetic objects. Does the same happen in ‘evaluating’ a sunset? Do we ask an expert to tell us whether this sunset is better than the one we saw yesterday, and if so, to explain to us in what way? If we ask someone whether he prefers a rugged mountainous landscape to an ocean view, do we seek to learn anything over and above his preferences, something that will help us make a more informed judgment ourselves? And if someone declares that she thinks her husband is more beautiful than the man just voted ‘sexiest man alive’, do we take her to task for not agreeing with ‘the experts’? 

It appears that although the answers may not be the same in each of these cases, there is a marked difference with how training and expertise work in aesthetic practices that are concerned with non-natural phenomena, with artefacts, performances, and the like. This relates to the second feature, directed discontent.

Directed discontent typically involves judgments about objects according to norms with an aim to improvement. We look at the object (or performance, that’s basically the same in this regard), apply a relevant norm, and judge that the object does not qualify unreservedly, that there is room for improvement. Typically, improvement presupposes control, at least in principle. Hence, a key feature of aesthetic objects is that they lend themselves to manipulation, to change and be changed. 

Now, natural phenomena are not disqualified  by this requirement per se. But it does place restrictions on when natural phenomena can be regarded as proper aesthetic objects. First of all, there has to be some element of control. Since sunsets are typically not man-made, they equally typically are not aesthetic objects: there is no aesthetic practice that aims at producing sunsets according to certain shared norms. Landscapes are an in-between case: think of landscape architecture, garden design. Here there is enough control to start an aesthetic practice. But we don’t go about designing and producing mountain ranges. (At least, not yet. Notice how all this is conditional on human ability, and hence human technology.) What about people? A human face becomes a proper aesthetic object in the context of, e.g., plastic surgery. We can well imagine two people judging the result of an operation and one of them expressing directed discontent; “Nice result, but the left cheek is not quite what it should be … Let me see, a bit more like this, perhaps?”

And this immediately reveals the second  conditio sine qua non for something to be an aesthetic object, viz., that there has to be a set of shared norms. 

So we see why on the one hand natural phenomena do not automatically qualify as aesthetic objects and why on the other hand most of our aesthetic practices involve pure artefacts: control is needed for a practicable application of norms.

Martin Stokhof
from: EOL Discussion Board
date: 27/02/2020