By Ramona Cormier, Shannon Dubose, James K. Feibleman, John D. Glenn Jr., Harold N. Lee, Marian L. Pauson, Louise N. Roberts, John Sallis (auth.)
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Extra resources for Aesthetics I
From the here-now of any body, there-now is the locus of some other body. Bodies alter one another in space, which is thus the region of relative affectability. Space in contemporary sculpture is the object with which the sculptor is primarily concerned. He endeavors to get at the internal features of the shapes on which he is working. Such shapes are malleable and isolable, making it possible to replace representative forms by abstractions. Space itself can be manipulated in the absence of representation by those properties of space itself which are present in material bodies.
Artists have reliable aims because in their own persons they are the sensitive recording mechanisms which receive impressions too subtle to be felt by others. Cultural influences in this way may be both powerful and predictive. The artists are the true prophets, they feel the atmosphere of what is going to happen before it does. They cannot say so directly but they can express it by means of feeling. Judging by the art of the day, by the canvases of De Koonig and Johns, for instance, or the music of Stockhausen and Cage, the outlook for the culture is not good.
Without any analysis of what it is 1 Dewey may have been able always to resolve this difference in mood, but he did not always make clear to the rest of us how he did so. 2 H. N. Lee, Perception and Aesthetic Value, New York, 1938; reissued New York, 1967, Chapter IX. 3 This view has been elaborated by George Herbert Mead.
Aesthetics I by Ramona Cormier, Shannon Dubose, James K. Feibleman, John D. Glenn Jr., Harold N. Lee, Marian L. Pauson, Louise N. Roberts, John Sallis (auth.)