I really do like Aesthemos, a newly constructed self-report measure for aesthetic feelings about a work of art. The authors, mostly European (no surprise), published an extensive report on PLOS about their development of this instrument, the Aesthetic Emotion Scale (see: http://journals.plos.org/plosone/article?id=10.1371/journal.pone.0178899). They reviewed much of the literature on this topic and then gathered questionnaire items from other questionaires and some theoretical considerations, then tested the items to find which ones were most valid and tapped into what they thought was pertinent. This is a brilliant, rigorous and important piece of work, no small undertaking, and one that will help move our understanding forward.
They came up with questions assessing an art consumer’s responses (what word would be better here? Art appreciators?) in several areas: A) Prototypical Aesthetic emotions, e.g., feelings of beauty, fascination, being moved, awe; B) Pleasing emotions, e.g., joy, humor, vitality, energy; C) Epistemic emotions, e.g., surprise, interest, challenge and insight; and D) Negative emotions, e.g., ugly, bored, confused. They worked hard to develop an instrument that could be used across many types of art, visual, dance, music, literary, etc., and that was manageable, i.e., not too long or difficult for ease of administration.
These areas and the specific questions are quite interesting and I am sure I will write more about them later, but for now I want to note what a great literature review they offer, what a cogent theoretical basis for their analysis they have, and one place where I think they could learn from Susanne Langer (you knew that was coming, right?).
Oh, to be young and a library rat (analogous to gym rat) again. One of the great joys in my earlier life was to find a good article or book and then immerse myself in the stacks reading select items from the reference list. Being distant from academic pursuits I must find sources wherever I can these days as I work the farm, and I did not know about many of the journals and books they cite. I had better get busy over the winter when my farm task list shrinks and read about emotion and empathy in aesthetic experience, reactive and reflective models thereof, the pleasures of the mind and sense-making, and how this all relates to our sense of beauty. Lovely, isn’t it?
The first sentence of the abstract says much about their theoretical approach: “Aesthetic perception and judgment are not merely cognitive processes, but also involve feeling”. I knew this was going to be a great read. The introduction starts, “How does beauty feel? The notion that aesthetic appeal is more felt than known has a substantial tradition in philosophical aesthetics.” My variegated readings in psychology, philosophy, and neuroscience suggest that such a tradition has not carried forward very far into aesthetics as a biological phenomena, though the authors here have found some. Indeed, their development of Aesthemos is intended to facilitate the inclusion of a consumer’s emotional responses to art into more experimental paradigms, and that is very exciting.
Reflecting on this article I realized two things. First, that Aesthemos and the theory underlying its development is based upon art appreciation and not art creation, and that the emotional processes serving artistic creation are bound to be very different and more difficult to understand. This is natural because the response of the art consumer is much more amenable to study than is the creative intuition of the artist inspiring the work and its crafting thereafter. How to study that is a challenge for the future (probably, but we should keep it in mind).
Second, Aesthemos is based upon emotions and feelings as a counter-balance to more cognitive approaches, but it still relies on a vocabulary from those latter restrictive ones. Here is where Langer can help with the discussion. Aesthemos found one area of emotional response the authors noted as ‘epistemic’, i.e., “emotions that have been connected to the search for meaning and insight”. They rightly point out that art is not utilitarian; it is not a means to accomplish an end (unless you count symbolic communication and the sharing of vital experience as the goal) but is more of an end in itself. The essential importance of art is its symbolic communication of the artist’s experience, necessarily personal, somehow intimately parsed from the self’s vital life that then inspires the creation of the art work.
The problem with “meaning and insight” is that these terms are loaded with other philosophical, psychological and religious connotations. We gain meaning and insight into how our life has progressed and how we want to live it into the future in many ways, not all of them aesthetically based. Plus, the label of ‘epistemic’ and use of the word ‘meaning’ comes from the discursive realm of knowledge as more or less logically abstract and impersonal (like declarative memory more than episodic) and to this old linguist, that relies on the deep and surface structures of language because meaning there is a conventionalized and internalized system of sematic units expressed by and recoverable through syntactic transformations between deep and surface.
Langer recognized the difference in the deep and surface structures between the two types of symbols, discursive, e.g., language, and presentational, e.g., art, in her 1942 book, Philosophy in a New Key, and she continued to develop the notion of artistic ‘import’ as analogous to linguistic meaning in 1953 Feeling and Form. I like her very succinct presentation of the term in her 1957 Problems of Art. Over the 4 years of this blog I have written about this several times (for example see 9/23/17, 9/13/2016, 2/17/16, and 11/4/2015). Briefly, from a previous blog, presentational symbolic forms, epitomized by art, carry import through gestalt-like forms composed from elements that have no significance outside of that form, while discursive symbolic forms, epitomized by language, carry meaning through linear syntactic combinations of elements that bear their semantic load independently of any new combination. The vocabulary of art, so to speak, may be culture bound but is otherwise unlimited, variant and intuitive with their creation limited only by the creativity of the artist; the vocabulary of language is established through social convention and though invariant, may be used in novel constructions.
Going further, presentational symbols are virtual constructions in which each element has no meaning independent of the total gestalt, as opposed to discursive elements that are lexical items of steady and stable meaning no matter the context. Further, presentational symbols are then not constrained by the necessities of linearization in the form of a grammar transforming deep to surface structure, e.g., sentences. Instead, presentational symbols express some symbolic formulation of an experience in a complex, contextual, non-linear structure, the elements of which depend upon the total gestalt for significance–makes it hard to study empirically). In Problems of Art Langer determines that linguistic meaning is just that and another term is needed for the deep structure of art and this she terms ‘import’, following ideas set forth by Ernest Nagel and other philosophers.
This distinction between meaning and import carries two implications about the issues Aesthemos explores. The first, more theoretical than empirical, is the basic difficulty of verbalizing about a work of art; translating a work of art from one medium to another or giving a rendition of it in the context of critical appreciation or even a literary work from one language to another ranges from fraught with difficulty to impossible. Thus, Aesthemos uses words, i.e., discursive symbols, to report feelings about a artistic work, i.e., presentational symbol. These feelings are part of the process of apprehending and understanding the art work, but are not the import, which is really conveyed when the expressive form is gathered in in its entirety. Langer says the import is an idea of felt experience that “gives us the forms of imagination and the forms of feeling, inseparably; that is to say, it organizes and clarifies intuition itself” (Feeling and Form, p. 397). The artist does this intuitive work in his art production, and the import which the consumer manages from the artwork must likewise follow the intuitive processes of a presentational symbol, its form expressing a complex synthesis of vital experience. I take from this that understanding art is or rather will be an important aspect of understanding the non-conscious processes of intuition, difficult on both the expressive and receptive ends.
The second issue is directly addressed by the authors as they cited the known difficulties of self-report measures, the reliability from one moment to the next for any individual and the necessity of assaying an experience once it is over and when the consumer’s emotions and understanding changed continuously during the artwork’s performance or reading or viewing and then change afterwards with the integration of many past experiences, thoughts, and feelings. This is especially so, I should think, in exploring our aesthetic feelings, but such measures can be very useful in studying human minds and I hope Aesthemos has a long and happy career as a useful measure helping us understand how we produce and receive art.
I have much more to say here; their article started me wandering down several paths of thought. Next up I think will be a reflection on the nature of critical appreciation and artistic import, using a review of a beautiful movie as the platform. I hope everyone has seen or has a chance to see (take it) The Red Turtle.
Travel on, of course, and remember Mammalian Heritage Day on November 2. After that I plan a series of posts as I celebrate the fourth anniversary of this blog on December 5. The farm is frosted and I have time and energy.