By Henry G. Hartman
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Additional info for Aesthetics: A Critical Theory of Art
But how is that differ ence in the kind of pleasure to be defined? Shall we define it by reference to (cognitive) aspect? In its affective its affective generally accepted, pleasure differs or its perceptive aspect, as only is now in degree, that in quantity, not in quality. Hence the qualitative differences that pleasure seems to appropriate are is, dependent upon its perceptive aspect. It is for this reason that we refer to different things in order to dis tinguish our pleasures, as, for example, music, painting, But since a hedonist makes music and or reading.
It as signs to art a concrete rather than an abstract meaning. In this usage of the term, painting is an art not by virtue of some quality superinduced upon 33 its material, AESTHETICS 34 but by virtue of its own concrete existence, and, as such, opposed to other concrete things, as for example, a machine or a stone. We deal in this meaning of art with things, not with abstract qualities or defini tions. It contains the further implication that art plural and not a unitary something. In the second meaning of the term, art is a norma tive or standardized product within any one of this group or list of particular arts.
Painting, to be sure, may be smothered with a wholly irrelevant train of ideas and feeling; but this is vapid revery or uninformed sentimentalism. It has its foundation in ignorance, and it is as irrele vant and objectionable in art as it is in life. Art develops with and receives a contribution from the in dividual; but if the individual does not develop with it, he remains wholly out side the pale of art. No more serious indictment could be directed against aesthetic theorists, then, than the fact that they fail to consider the substance of art, with the classification of this substance into masterpieces and shams, as their ultimate point of reference.
Aesthetics: A Critical Theory of Art by Henry G. Hartman