Art Aesthetics Philosophy

View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ZRC SAZU Publishing (Znanstvenoraziskovalni center -... Jo ž e f M u h o v ič Art <-> Aesthetics <-> Philosophy I. In tro d u ctio n T h e is s u e d is c u s s e d in th is c o n t r i b u t i o n is th e logic o f r e la tio n s b e tw e e n a r t, a e s th e tic s a n d p h ilo s o p h y in t h e i r p ra c tic a l, ev e ry d a y i n te r a c tio n s , w h ic h is, in m y o p i n i o n , a to p ic a l q u e s tio n f o r tw o r e a s o n s a t le a s t. First, b e c a u s e t h e p o s t m o d e r n e r a , o s c illa tin g b e tw e e n t h e c u lt o f th e r a d ic a l d i s tin c tio n b e tw e e n p h e n o m e n a a n d t h e o p p o s in g c u lt o f t h e i r p r a g m a tic ( c o n ) fu s io n , is its e lf c a llin g o u t f o r a n a p p r o p r i a t e a n s w e r. A n d second, as a n in d iv id u a l e n g a g e d in a r t t h e o r y a n d p r a c tic e , I a m i n t e r e s t e d in t h e lo g ic a l c o n d i t i o n s u n d e r w h ic h a r t, a e s th e tic s a n d p h i lo s o p h y c a n - if a t all - m u tu a lly s u p p o r t a n d in s p ir e o n e a n o t h e r in e s ta b lis h in g th e m o s t d i r e c t c o n t a c t w ith re a lity , w h ic h is t h e i r » s u b je c t« , w ith o u t lo s in g t h e i r a u to n o m y .1 II. E xposition: M in i-d efin itio n s A f u n d a m e n t a l s te p in s tu d y in g r e la tio n s is t h e id e n t i f i c a t i o n a n d d e f i­ n i t io n o f t h e i r c o n s titu tiv e e le m e n ts . A n d th is is a lr e a d y t h e f ir s t c r u c ia l p r o b l e m e n c o u n t e r e d in e x p lo r in g t h e r e la tio n s b e tw e e n a r t, a e s th e tic s a n d p h ilo s o p h y . I t is g e n e r a lly k n o w n th a t, b e c a u s e o f t h e i r n a t u r e a n d c o m ­ p le x ity , a s in g le a n d u ltim a te d e f in itio n o f th e s e fie ld s is n o t p o s s ib le . B u t i f I a m to p r o c e e d , I h a v e n o o t h e r c h o ic e b u t to ris k s o m e elementary d e f m i1 It is certain th at by far the m ost co m p eten t individual for en lig h ten in g th e issue discussed would be som eone who is equally talented, educated an d creative in all th ree fields, i.e. in the arts, philosophy an d aesthetics, in the d eep est sense o f these words. D espite having studied all th ree fields, I do not fee! entirely qualified to fulfil this criterion, as I am creatively active only in the fine arts. A nd so, in attem p tin g to explore the logic of relations between art, aesthetics and philosophy, I have consciously o r unconsciously resorted to certain professional apriorism s an d thus my view o f the problem will most likely ap p ear biased. Nevertheless, there are two reasons why I dare to present my personal conclusions to the public. T he first is th at I shall explicitly support my findings, allowing others to verify them at all times. A nd second, I consider a public presentation to be the best opportunity to have my views m ade m ore com plex o r rejected, with argum ents, o f course. Filozofski vestnik, X X ( 2 / 1 9 9 9 - X I V IC A Supplem ent), pp. 2 4 7 -2 5 8 247 Jo že f M u h o v ič tio n s o f t h e s e t h r e e fie ld s . I n s p ite o f a ll t h e d a n g e r s in v o lv e d . I n o r d e r to c a p tu r e t h e p h e n o m e n o n as a w h o le a n d p r e s e n t its e s s e n c e in a fe w w o rd s o r s e n te n c e s , it w ill b e n e c e s s a ry to m a k e r e d u c t i o n s , s im p lif ic a tio n s a n d a r b it r a r y s y n th e s e s , all o f w h ic h c a n ea sily l e a d to v a g u e , i n c o m p le te o r o v e r ­ s im p lif ie d re s u lts . N e v e r th e le s s , I d a r e to a s k (m y se lf): W h a t a r e t h e e le m e n ta r y c h a r a c ­ te ris tic s o f th e p h e n o m e n a d e s ig n a te d by th e te r m s » a rt« , » a e s th e tic s « a n d » p h ilo s o p h y « ? 1. A rt I f o n e d is r e g a r d s all t h e p a r tic u la r itie s - s te m m in g f r o m m e a n s o f e x ­ p r e s s io n , te c h n ic a l p r o c e d u r e s a n d ways o f t h i n k in g - w h ic h m a k e a r tis tic p h e n o m e n a a n d fie ld s d is tin g u is h a b le , o n e m a y d ra w tw o m a x im a lly g e n e r ­ a liz e d c o n c lu s io n s : (a ) a r t is th e a r tic u la tio n a n d a c tiv a tio n o f t h o u g h t s a n d e m o t i o n s w ith t h e m e d i a t i o n o f s e n s u a l e q u iv a le n ts a d a p te d to th e m , a n d (b ) w o rk s o f a r t a r e sy ste m s o f o r g a n iz e d s e n s a tio n s (A. A . Moles) p r o v o k in g s y m b o lic r e a c tio n s w h e n e x p e r i e n c e d . B o th g e n e r a liz a tio n s s h o w a r t as a s p e c ia l » fo rm o f o p e r a t i n g w ith e x p e r ie n c e « ( L . A . W h ite) , w h o s e g o a l is to m a k e e x p e r i e n c e in te llig ib le sim ultaneously o n th e s e n s u a l, e m o t i o n a l a n d s p ir itu a l lev els, a n d th u s h e l p m a n to h o lis tic a lly a d a p t to h is e n v i r o n m e n t. H o w e v e r, t h e r e a r e tw o p r e c o n d i t io n s f o r s u c h o p e r a t i n g w ith e x p e r ie n c e : (i) p r a c tic a l s e n s u a l c o g n itio n , a n d (ii) e ffe c tiv e » c o m m u n ic a tio n « b e tw e e n s e n s u a l r e c o g n iz a b ility a n d c o n c e p t i o n a l a b s tr a c tio n . (i) I n a r t, t h e c r e a t i o n o f fo r m s to r e p r e s e n t t h e a r ti s t ’s e x p e r i e n c e a n d t o u c h t h e t h o u g h t s a n d e m o tio n s o f t h e p u b lic is alw ays a n a c t b a s e d o n s e n s a tio n s . Y et th is a c t c a n n o t b e r e a liz e d w i th o u t a k n o w le d g e o f th e p r in c ip le s o n w h ic h th e p r o d u c ti o n a n d o r g a n iz a tio n o f s e n s a tio n s e m p lo y e d b y a s p e c if ic b r a n c h o f a r t is b a s e d . F o r th is r e a s o n , a w o rk o f a r t is alw ays t h e r e s u lt o f t h e le v e l o f k n o w le d g e o f s u c h p r in c ip le s a n d t h e e f fe c tiv e n e s s o f t h e i r a p p lic a tio n in p r a c tic e . Its c o n te n ts a r e n o t o n ly th e c o n t e n t s o f t h e a r t i s t ’s t h o u g h t s a n d e m o tio n s , b u t a lso s e n s u a l c o g n i t i o n itse lf. O n e m a y t h e r e f o r e say t h a t a r t is th e e x p r e s s io n o f thoughts a n d em otions by m eans o f sen su a l cognition, a n d t h a t th is fa c t is th e b a s ic e l e m e n t f o r its d e f in itio n . (ii) I f o n e o f t h e d e t e r m i n i n g c h a r a c te r is tic s o f a r t is e x p r e s s in g s p ir ­ itu a l c o n t e n t s t h r o u g h m e d i a t i o n o f th e s e n s u a l, it is a ls o e v id e n t t h a t s u c h e x p r e s s io n c a n o n ly f u n c ti o n if a r t d is p o s e s w ith th e m e a n s a n d m e t h o d s e n a b l i n g t h e e ffe c tiv e » tr a n s la tio n « o f t h e s e n s u a l in to th e s p ir itu a l a n d v ice-v ersa . P r a c tic e h a s s h o w n t h a t a r t m a s te r s s u c h tr a n s la tio n s u p e r b ly . E v e n m o r e : its a r te f a c ts a r e n o t h i n g s h o r t o f e x e m p la r y a n d in s p i r a t i o n a l 248 A rt <-> Aesthetics <-> Philosophy p r o to ty p e s o f t h e t r a n s la tio n o f th e e m p ir ic a l in to t h e c o n c e p t u a l a n d id e a s in to re a lity . I n a d d i t i o n to th e c h a r a c te r is tic s s te m m in g f r o m th e r e f le c tio n s m a d e , a r tis tic p h e n o m e n a h a v e m a n y o t h e r c h a r a c te r is tic s a n d a s p e c ts w h ic h w ill n o t b e c o n s i d e r e d h e r e . B u t s in c e t h e a r tic u la te d c h a r a c te r is tic s s h o u l d n o t, in m y o p i n i o n , b e m is s in g in a n y p h e n o m e n o lo g ic a lly c o n s i s t e n t d e s c r ip ­ tio n o f th e differentia specifica o f a r t, I s h a ll ta k e t h e lib e r ty to m a k e th e fo llo w in g m in i- d e f m itio n : a r t is th e e x p r e s s io n o f th o u g h ts a n d e m o t i o n s b y m e a n s o f s e n s u a l c o g n itio n ; t h e o p e r a t i o n a l f o r m o f s u c h e x p r e s s io n is th e d e v e lo p m e n t o f s p ir itu a l c o n te n ts i n t o a n a r tis tic f o r m w ith t h e p u r p o s e o f a r ti c u la ti n g h u m a n e x p e r i e n c e in a p o e tic a l w ay, s im u lta n e o u s ly a d a p t e d to th e s e n s u a l, e m o t i o n a l a n d in te lle c tu a l a b ilitie s o f m a n . 2. Aesthetics I t is g e n e r a lly k n o w n t h a t a e s th e tic s w as b o r n as a p h i l o s o p h ic a l d is c i­ p lin e in th e m id 1 8 th c e n tu r y f r o m t h e d e s ir e o f s y s te m a tic p h i l o s o p h y to c o v e r o n e o f t h e g r e a t w h ite b lu r s o n t h e m a p o f its r e f le c tio n s - t h e s p h e r e o f th e s e n s u a l. A . G. B aum garten i n t r o d u c e d th is d is c ip lin e as a p h i l o s o p h i ­ c a l th e o r y o f s e n s u a l c o g n i t i o n ( scientia cognitionis sensitivae), c o n s i d e r in g it to b e , t o g e t h e r w ith lo g ic , a n e s s e n tia l p r o p e d e u t i c d is c ip lin e o f t h e o r e t ic a l a n d p r a c tic a l p h ilo s o p h y .2 H is f u n d a m e n t a l id e a , i n s p i r e d b y t h e e n l i g h t e n ­ m e n t , w as t h a t c o n c e p t i o n a l a n d s e n s u a l c o g n itio n a r e tw o s e p a r a t e a n d i n d e p e n d e n t a r e a s g o v e r n e d b y t h e i r o w n u n i q u e p r in c ip le s a n d r u le s , a n d th u s m u s t b e t r e a t e d e q u a lly b y p h ilo s o p h y . H e d e v e lo p e d h is a e s th e tic s in o r d e r to s tu d y , in a p h i lo s o p h ic a l w ay, th e s e n s u a l so i g n o r e d in t h e p a s t, a n d u s e it to e x p l o r e th e i m m a n e n t law s o f t h e s e n s u a l in a s im ila r w ay as lo g ic re v e a ls th e law s o f t h o u g h t. T h e f u n d a m e n t a l c o n c e p t o f B a u m g a r t e n ’s a n a ly se s o f t h e s e n s u a l is » b e a u ty « as t h e r e p r e s e n ta tiv e o f t h e m o s t p e r f e c t f o r m a n d h i g h e s t le v e l o f s e n s u a l c o g n itio n . A n d b e c a u s e it is g e n e r a lly b e lie v e d th a t, in a r t, b e a u ty a p p e a r s in t h e m o s t p u r if ie d a n d p e r f e c t f o r m s , f o r B a u m g a r te n th is m e a n t t h a t h is a e s th e tic s , as t h e » f u n d a m e n t a l a n a ly sis o f t h e b e a u tif u l« , is eo ipso a ls o th e th e o r y o f a rt. H e n c e , B a u m g a r t e n ’s a e s th e tic s is, a t its c o r e , » d u a lis tic « . O n o n e s id e it is a p h ilo s o p h ic a l th e o r y o f t h e s e n s u a l a n d s e n s u a l c o g n itio n , a n d o n th e o t h e r a p h ilo s o p h ic a l th e o r y o f th e b e a u tif u l a n d o f a r t as a n a c tiv ity o f c r e a t i n g b e a u ty . T h e s u b s e q u e n t d e v e lo p m e n t o f a e s th e tic s g r a s p e d b o t h c o n c e p ts , c o n t i n u i n g to d e v e lo p t h e m alw ays in c lo s e c o n n e c t i o n w ith c u r ­ r e n t p h ilo s o p h ic a l d e b a te s . 2 Cf. A lexander G ottlieb B aum garten, Aesthetica, Frankfurt a. d. O der, 1750, § 1-3 (rep rin t lat./g er. H ildesheim 1961). 249 J o že f M u h o v ič M y m in i- d e f in itio n : a e s th e tic s is a p h i lo s o p h ic a l th e o r y o f s e n s u a l c o g ­ n i t io n in t h e b r o a d e s t s e n s e o f th e w o rd , a n d c o n s i d e r in g t h e f a c t t h a t a r t is » e x p r e s s in g t h r o u g h s e n s u a l c o g n itio n « , a ls o a p h ilo s o p h ic a l th e o r y o f a r t, o r , m o r e p re c is e ly , a th e o r y o f th e p h ilo s o p h ic a l a s p e c ts o f a r t. B o u n d b y its s u b je c t to t h e s e n s u a l, a n d b y its m e th o d o lo g y to t h e h i g h c o n c e p t u a l a b ­ s tr a c tio n o f p h ilo s o p h y , a e s th e tic s o p e r a te s a t th e in te r s e c tio n o f th e s p h e r e s o f i n t e r e s t o f tw o k e y h u m a n c o g n itiv e a b ilitie s : p e r c e p t i o n a n d th o u g h t . T h is lo c a tio n allo w s it to s tu d y t h e i r i n te r a c tio n s » o n its o w n sk in « a n d t r e a t t h e m » fr o m t h e in s id e « . 3. Philosophy T h e p r o b l e m o f d e f in i n g p h ilo s o p h y lies in its n a t u r e , in th e f a c t t h a t it is n o t p o s s ib le to o n c e f o r all d e f in e n e i t h e r its s u b je c t (as th e s u b je c t o f p h i l o s o p h iz in g m a y lite ra lly b e c o m e e v e r y th in g t h a t e x ists) n o r its u n iv e r s a l m e t h o d o l o g y (as e a c h n e w a p p r o a c h to p h ilo s o p h iz in g is ipso fa cto a n in ­ v e n t i o n o f a n e w m e th o d o lo g y ) ,3 P h ilo s o p h ic a l s p e c u la tio n b e g in s w ith th e n o t i o n o f » b e in g « (Sein) a n d its s t r o n g d is tin c tio n f r o m t h e n o t i o n o f » th e e x is te n t« (Seiendes). O n ly w h e n a n a w a re n e s s o f th e u n ity o r o n e n e s s o f b e i n g a w a k e s in c o n n e c t i o n w ith a m u l t i t u d e o f th e e x is tin g d o e s a s p e c ific a lly p h ilo s o p h ic a l w ay o f th i n k in g a b o u t t h e w o r ld o c c u r . B u t th is th i n k in g c o n tin u e s to r e m a i n lin k e d to th e s p h e r e o f t h e e x is tin g f o r a c o n s id e r a b le tim e . T h e b e g i n n i n g , o r ig in a n d f o u n d a t i o n o f t h e b e i n g is s o u g h t in th e s p h e r e o f t h e e x is tin g . F o r p h i l o s o ­ p h y , t h e p a r ti c u la r m u s t n o t r e m a i n p a r tic u la r , b u t s h o u l d b e i n c l u d e d as a f u n c ti o n a l p a r t in a c e r ta in w h o le , in a c e r ta in u n iv e r s a l f o r m o f law a n d o rd e r. T h e r e f o r e , th e f u n d a m e n t a l p h ilo s o p h ic a l q u e s tio n is h o w to id e n tif y a n d a r ti c u la te in n o t i o n s t h e b e i n g a n d e s s e n c e o f t h e e x is tin g . S in c e , c o n ­ tr a r y to e x is te n c e , b e in g a n d e s s e n c e d o n o t p r e s e n t th e m s e lv e s d ire c tly , a n d b e c a u s e t h e h i d d e n f o u n d a ti o n o f a t h in g m u s t b e r e v e a le d b y a s p e ­ cific ac tiv ity , p h ilo s o p h y c a n o n ly a r riv e a t a n a n s w e r by d e v e lo p in g v a r io u s c o g n itiv e s tr a te g ie s . I n a d d r e s s in g t h e q u e s tio n o f t h e b e i n g a n d e s s e n c e o f t h e e x is tin g , p h i lo s o p h y h a s d e v e lo p e d ( a n d c o n t i n u e s to d e v e lo p ) m a n y c o n c r e t e a n s w e rs . A c lo s e lo o k a t t h e i r lo g ic a l s t r u c t u r e w ill r e v e a l t h a t all 3 From this aspect philosophy, in contrast to o th e r sciences, does n o t dispose with a fu n d o f generally accepted and conclusive knowledge, o r with a specific “introduction to th e profession” in the usual sense of the word. M ore precisely see for exam ple A lbrecht W ellmer, Adorno, Anwalt des Nich-Identischen. Eine Einführung, in A. Wellmer, Zur Dalektik von M oderne und P ostm oderne (Frankfurt am Main: Suhrkam p, 51993), p. 135 ff. 250 A r t <-> Aesthetics o Philosophy th e s e a n s w e rs a r e , in a c e r ta in s e n s e , th e f r u it o f t h r e e m a c r o -s tra te g ie s w h ic h h a v e d e v e lo p e d t h r o u g h t h e lo n g h is to r y o f p h ilo s o p h iz in g . I w ill a d o p t W. Welsch ’s a p p r o a c h a n d c a ll t h e m metaphysical, modernistic a n d p o stm o d ern ists, a n d , a s W e l s c h h a s d o n e , e m p l o y t h e n o t i o n s a e s th e tis a tio n a n d anaesthetisation 4 to illu s tr a te th e m . T h e m etaphysical m a c r o - s t r a t e g y is d e f in e d b y th e b e l i e f t h a t t h e h i d ­ d e n f o u n d a t i o n o f t h e e x is tin g c a n o n ly b e d is c o v e r e d by p e e li n g o f f as t h o r o u g h l y as p o s s ib le its s e n s u a l, a e s t h e t i c s h e ll. T h u s , b y m e a n s o f d e a e s t h e t i s a t io n , w h ic h d ir e c ts u s f r o m t h e s e n s u a l to t h e t r a n s c e n d e n t a l , f r o m aesthetic (i.e . m a te r ia l, p h y s ic a l, s e n s u a l) to anaesthetic (i.e. n o n s e n s u a l, re fle c tiv e , s p ir itu a l) . T h e m e ta p h y s ic a l m o d e l a tte m p ts to m a x im iz e t h e d if­ f e r e n c e b e tw e e n th e s e n s u a l a n d th e t r a n s c e n d e n t a l , w h ic h is w h y t h e p r e d i ­ c a te s o f t h e t r a n s c e n d e n t a l s p h e r e ( n o n - m o v a b le , n o n - c h a n g e a b le , n o n s p a tia l, n o n - te m p o r a l, e tc .) a r e in a ll c a ses t h e n e g a tiv e p r e d ic a te s o f t h e s e n s u a l s p h e r e . T h is is a lso o n e o f th e tr a p s o f t h e m e ta p h y s ic a l m o d e l .5 O n t h e o t h e r h a n d , t h e modernistic s tra te g y a n n o u n c e s a c o m p le te ly d if f e r ­ e n t m o d e l: aesthetisation. T h e b e in g a n d e s s e n c e o f t h e e x is tin g c a n n o t b e r e a c h e d b y e l i m in a t in g t h e s e n s u a l, b u t, o n th e c o n tr a r y , b y in te n s iv e ly e x ­ p l o r i n g its m u ltif o r m ity , b y » a tte m p tin g to p e n e t r a t e t h r o u g h it« ( b u t n e v e r s u c c e s s fu lly , d u e to th e e x c lu s iv e n e s s o f a s in g le d i r e c t io n a n d a s in g le m a n ­ n e r o f s u c h p e n e t r a t i o n ) . - T h e p r e s e n t- d a y p o stm o d ern ists s tr a te g y is s e e k ­ in g n e w ways o f r e v e a lin g t h e b e in g a n d e s s e n c e o f t h e e x is tin g b y f u n c t i o n ­ ally l i n k in g b o t h m o d e ls in o r d e r to a v o id t h e i r tra p s . Its m a x im is: to g r a f t t h e a n a e s th e tic o n t h e a e s th e tic 0 a n d » th e w h o le o n ly v ia d if f e r e n c e « .7 T h e r e f o r e , I m a y b rie f ly s u m m a r iz e m y v iew o f t h e a c tio n r a n g e o f p h i l o s o p h y as fo llo w s: p h i lo s o p h y is a r e f le c te d c o n t e m p l a t i o n o f t h e b e i n g a n d e s s e n c e o f t h e e x is tin g , w h ic h , in its p lu r a lity , a p p e a r s as t h e i n s e p a r a ­ b le u n ity o f t h e a e s th e tic a n d th e a n a e s th e tic . T h e g o a l o f p h i l o s o p h y is to e x p l o r e t h e lo g ic o f th is u n ity a n d t h e c o n c e p t u a l i n t e g r a ti o n o f t h e p a r ­ t ic u la r in to a u n iv e r s a l w h o le . P h ilo s o p h y a tta in s th is g o a l b y m e th o d ic a lly q u e s t i o n i n g th e e x is tin g a n d th e k n o w n . 4 Cf. Welsch, Ästhetisches Denken (Stuttgart: Philipp R eclam ,jun. Verlag, 1990), pp. 2 3 30. 5 Ibid., p. 25. 6 Ibid., pp. 110-111. 1 Cf. W olfgang Welsch, Unsere Postmoderne Modeme (Berlin: A kadem ie Verlag, 41993), pp. 60-63. 251 J o že f M u h o v ič III. Topology o f the Interactive Space 1. C ontext a n d its elements A s in c o m p le te as th e d e f in itio n s o f a r t, a e s th e tic s a n d p h ilo s o p h y g iv e n a b o v e m a y s e e m , th e y n e v e r th e le s s p o i n t to a n i n t e r e s t i n g s itu a tio n . T h e y m a k e it p e r f e c tly c l e a r th a t, in s p ite o f all o f t h e i r ra d ic a lly d i f f e r e n t o b je c ­ tiv es a n d m e th o d s , a r t, a e s th e tic s a n d p h ilo s o p h y h a v e a r e c o g n iz a b le c o m ­ m o n d e n o m i n a t o r : a ll three deal in one way or another w ith the relation between the aesthetic a n d the anaesthetic. - In m y o p i n i o n th is v e ry fa c t is t h e p r o p e r b a sis f o r f u r t h e r r e f le c tio n . I n o t h e r w o rd s, o n e c o u ld say t h a t t h e w orking space o f a r t, a e s th e tic s a n d p h ilo s o p h y is th e in te r a c tio n a r e a o f th e a e s th e tic a n d th e a n a e s th e tic . T h e r e ­ f o r e , I s h a ll firs t a t t e m p t to s h o w h o w th is i n te r a c tio n a r e a is m a n if e s te d in m a n as th e c r e a to r o f th e s e a rts a n d s c ie n c e s . - M a n , says J. H uxley, is th e in d iv is ib le a n d s im u lta n e o u s u n ity o f m a t t e r a n d s p ir it.” T h is m e a n s t h a t h e lives a t th e in te r s e c tio n o f tw o w o rld s a n d t h a t m a n h im s e lf is th e i n te r s e c tio n o f th e s e tw o w o rld s: a c lo s e d m a te r ia l w o rld , d e t e r m in e d by p h y s ic a l im p u ls e s a n d d e te r m in is m s , a n d a n o p e n , s p iritu a l w o rld , g o v e r n e d b y th e c o n c e p tu a l fle x ib ility o f th e m i n d ( intellect) a n d th e lib e rty to m a k e d e c is io n s (w ill). T h e firs t w o r ld e x is te n tia lly a tta c h e s m a n to »phy sics« o r » a e sth e tic s « (i.e . to th e m a te r ia l a n d s e n s u a l o b je c ts a n d p h e n o m e n a o f th e re a l w o r ld ) , w h ile th e s e c o n d lin k s m a n to » m e ta p h y sic s« o r » a n a e s th e tic s « (i.e. to p h e n o m e n a f o u n d e d o n e x p e r ie n c e , s u c h as s u b s ta n c e , p r in c ip le , e s s e n c e , r u le , law , e tc .). T h is a t t a c h m e n t m a k e s m a n e x is te n tia lly u n a b l e to a b a n d o n n e i t h e r th e m a te r ia l n o r th e s p ir itu a l d im e n s io n o f re a lity w h ic h h e fe e ls in s id e h im , b u t e v e n m o r e , h e e x tr a p o la te s th e m to th e e x te r n a l w o rld a n d r e c o g n iz e s th e m as e q u a l a n d e q u iv a le n t p a r ts o f th e w h o le c o m p r is e d o f th e w o rld a n d th e u n iv e rs e . M a n ’s e x is te n c e is d e p e n d a n t o n th e fu n c tio n a l cooperation o f th e s e tw o w o rld s , as th e s p ir it c a n o n ly c o n s titu te its e lf o n a » b a c k g r o u n d « o f th e m a te r ia l a n d th e s e n s u a l, w h ile th e m a te r ia l a n d th e s e n s u a l c a n o n ly b e c o m e h u m a n e re a lity w h e n a n im a te d w ith th e s p iritu a l. I n m a n , th e r e la tio n b e tw e e n th e a e s th e tic a n d th e a n a e s th e tic p r e s e n ts its e lf in c o n c r e t e f o r m t h r o u g h m a n ’s a c tiv itie s. F r o m th is a s p e c t o n e c o u ld say t h a t a r t, a e s th e tic s a n d p h ilo s o p h y a r e n o t h i n g m o r e t h a n operational fo rm s o f exploring r e 1a d o n s b e tw e e n th e a e s th e tic a n d th e a n a e s th e tic , a d a p te d to t h e i r s p e c ific g o a ls: (a ) a r t is a f o r m o f e x p l o r i n g r e la tio n s b e tw e e n f o r m a n d c o n t e n t , (b ) a e s th e tic s is a f o r m o f e x p l o r i n g r e la tio n s b e tw e e n p e r c e p ­ 8 Cf. Julian Huxley, Essays of a Humanist (London: Penguin Books and Chatto & W indus, 1964), p. 43. 252 A r t <-> Aesthetics <-> Philosophy tio n a n d c o g n itio n , a n d (c) p h ilo s o p h y is a f o r m o f e x p l o r i n g r e la t io n s b e ­ tw e e n m a te r ia l a n d s p ir itu a l re a lity . M y f u n d a m e n t a l q u e s tio n is, h o w d o t h e p a r tic u la r itie s o f th e s e t h r e e fo r m s o f e x p l o r i n g r e la tio n s b e tw e e n t h e a e s th e tic a n d t h e a n a e s t h e t i c in ­ f l u e n c e t h e i r b e h a v io u r in p r a c tic a l e v e ry d a y in te r a c tio n s ? D u e to t h e v ita l­ ity a n d c o m p le x ity o f th e t h r e e s p h e r e s , a c o n c lu s iv e a n s w e r to th is q u e s tio n is e v id e n tly im p o s s ib le . B u t it is p e r h a p s p o s s ib le to id e n tify a c e r t a i n b a s ic logic o f t h e i r in te r a c tio n s , b o t h th o s e t h a t h a v e b e c o m e h is to r ic a l fa c ts a n d th o s e still s l u m b e r i n g in th e p o te n c ie s o f t h e i r n a tu r e s . F o r th is p u r p o s e I w ill a t t e m p t to e n l i g h t e n th e fo llo w in g r e la tio n s : (a ) p h ilo s o p h y « -» a e s th e t ­ ics, (b ) a e s th e tic s <-> a r t, a n d (c ) a r t p h ilo s o p h y . 2. Philosophy <-> Aesthetics O f th o s e m e n tio n e d , th is r e la tio n is p r o b a b ly th e m o s t c o m p r e h e n s ib le a n d le a s t p r o b le m a tic . I t is a n easily p r o v e n fa c t th a t, fr o m t h e v e ry b e g in ­ n in g , e v e n b e f o r e a c q u ir in g its p r e s e n t n a m e , a e s th e tic s w as a p h ilo s o p h ic a l d is c ip lin e in t h e fu ll s e n s e o f th e w o rd . T h is m e a n s th a t it h a s alw ays a p ­ p r o a c h e d its » su b jects« ( th e s e n s u a l, b e a u ty , a rt) in a philosophical way, w ith th e h e lp o f p h ilo s o p h ic a l c o n c e p ts , a n d in c o n s o n a n c e w ith th e c u r r e n t p h i l o ­ s o p h ic a l d e b a te s . T h is , o f c o u r s e , h a s its c o n s e q u e n c e s . - E v ery s c ie n c e , in ­ c lu d in g p h ilo s o p h y , h a s d e v e lo p e d a sp e c ific c o r p u s o f f u n d a m e n ta l c o n c e p ts f o r th e p u r p o s e o f s tu d y in g th o s e c o n te n ts w ith in th e s p h e r e o f its in te r e s t. T h u s , w h e n a c e r ta in s c ie n c e th ro w s t h e n e t o f its c o n c e p ts b e y o n d t h e re a lity i t is s tu d y in g , it c a n c a tc h o n ly th o s e c o n te n ts w h ic h its c o n c e p ts a r e a b le to id e n tify a n d its sp e c ific te rm in o lo g y c a p a b le o f e x p r e s s in g ( W ittgenstein ). F o r a e s th e tic s as a p h ilo s o p h ic a l d is c ip lin e , th is m e a n s th a t it is c a p a b le o f c a tc h ­ in g o n ly th e philosophical a s p e c ts o f th e re a litie s s tu d ie d . A n d , o f c o u r s e , re a li­ ties h a v e m a n y m o r e , e q u a lly s ig n ific a n t asp e cts. 3. Aesthetics A rt T h e r e la t io n b e tw e e n a e s th e tic s a n d a r t is m o r e c o m p le x a n d c o m p li­ c a te d , p r im a r ily b e c a u s e th is is still a n o p e n r e la tio n . It m a y b e a p p r o a c h e d f r o m tw o a s p e c ts d ic ta te d b y t h e v e ry h is to ry o f a e s th e tic s . As a lr e a d y m e n t i o n e d , a e s th e tic s was n o t b o r n o f a n y s p e c ia l lo v e o f p h i lo s o p h e r s f o r a r t, b u t o f t h e i r lo v e f o r p h ilo s o p h y . T h e p u r p o s e o f its i n t e r e s t in a r t w as to d e v e lo p a n d te s t p h ilo s o p h ic a l th e m e s a n d p r o b le m s , b e c a u s e p h ilo s o p h y d is c o v e r e d t h a t a r t w as, f r o m its v ie w p o in t, a n e x c e l l e n t »modelsphere o f reality« in m o d e r n p h ilo s o p h ic a l te rm s .1’ O n e a s p e c t o f t h e 9 Cf. Welsch, Ästhetisches Denken, pp. 111-113. 253 J o že f M u h o v ič r e la t io n b e tw e e n a e s th e tic s a n d a r t is t h e i n c lin a tio n o f a e s th e tic s to w a rd s p h ilo s o p h y : w ith t h e h e l p o f a e s th e tic s in a r t, p h ilo s o p h y is searching f o r a p a th to itself. T h e s e c o n d , a ls o h is to ric a lly d o c u m e n t e d , b u t m u c h w e a k e r a s p e c t o f th is r e la t io n is t h e in c lin a tio n o f a e s th e tic s to w a rd s a r t, a t r e n d a n n o u n c e d b y Schiller10 a n d Nietzsche , w h ic h , in m o d if ie d f o r m , h a s e x t e n d e d i n t o o u r p e r io d : a e s th e tic s s h o u l d s to p b e i n g t h e m aidservant o f philosophy a n d s h o u l d d e v o te its e lf m o r e in te n s iv e ly to its s u b je c t. a . Aesthetics as a »philosophy v ia art« T h e r e a r e s e v e ra l r e a s o n s w hy, f o r m a n y p h ilo s o p h ic a l s tr a te g ie s , a r t is a n e x tr e m e ly u s e f u l »modelsphere o f reality«. I s h a ll m e n t i o n o n ly tw o , in m y o p i n i o n , k e y r e a s o n s . T h e firs t is t h a t a r t d o e s n o t e x p lo r e th e r e la t io n b e ­ tw e e n t h e a e s th e tic a n d a n a e s th e tic in a t h e o r e tic a l w ay, b u t establishes it in practice, in its h i g h e s t a c h ie v e m e n ts , a r t e v e n m a n a g e d to e s ta b lis h s u c h r e ­ l a tio n s in a n e x e m p la r y (archetypical), p u r i f i e d ( catharsis ) a n d h o lis tic w ay, a g a in a n d a g a in , a n d e m p lo y in g e x tr e m e ly p lu r a l s o lu tio n s . I n th is r e s p e c t a r t o f t e n is, f o r p h ilo s o p h y , a r e p r e s e n ta tiv e o f re a lity , its c o n c e n t r a t e d sucus, w h ic h is c o n s id e r a b ly e a s ie r ( d e s p ite th e d if fic u ltie s ) to d e a l w ith t h a n r e a l ­ ity itse lf. P h ilo s o p h e r s c o n f ir m th is w h e n th e y say th a t, f o r t h e m , a r t is a n organon w h ic h o p e n s t h e d o o r to th e to ta lity o f r e a lity 11 a n d to its e x tr e m e ly p lu r a l n a t u r e . 12 T h e s e c o n d r e a s o n is t h a t a r t as a p h e n o m e n o n is so v e ry c o m p le x a n d as a g e n e r a l n o t i o n s u c h a fle x ib le a r e a t h a t p r a c tic a lly a n y p h i l o s o p h ic a l th e o r y c a n b e te s te d a n d p r o v e n in th is a r e a . I f I a t t e m p t to s c h e m a tic a lly p r e s e n t t h e a e s th e tic s tr a te g y o f » p h ilo s o ­ p h y v ia a r t« , I c o u l d say t h a t its b a s ic p u r p o s e is th e p h i lo s o p h ic a l t r e a t m e n t o f t h e r e la t io n b e tw e e n a e s th e tic a n d a n a e s th e tic in th e to ta lity o f t h e e x is t­ in g . B u t s in c e u n p le a s a n tly e x te n s iv e a n d u n p u r i f i e d r e a lity m a k e s t h e tr e a t ­ m e n t o f th is r e la t io n d iffic u lt, p h ilo s o p h y a tte m p ts to a tta in th e s a m e g o a l in d ir e c tly : t h r o u g h th e in t e r a c t io n o f a r t (as a r e p r e s e n t a ti o n a l » m o d e l« o f u n p l e a s a n t re a lity ) a n d a e s th e tic s (as a p h ilo s o p h y o p e n to t h e s e n s u a l) . T h e g o a l o f a e s th e tic s w ith s u c h o r i e n t a t i o n is to d e v e lo p , in c o n f r o n t ­ in g a r t, t h e c o n c e p ts , r e fle c tiv e s tra te g ie s a n d m e th o d s t h a t w ill h e l p p h i ­ lo s o p h y to e s ta b lis h c lo s e r c o n ta c ts w ith its s u b je c ts . F o r th is r e a s o n i t is r e q u i r e d to p r o v id e a n s w e rs to p a r tic u la r ly c e r t a i n m a jo r ( e p is te m o lo g ic a l a n d o n to lo g ic a l) q u e s tio n s o f p h ilo s o p h y , o r e v e n » e m p iric a lly « d e f e n d c e r ta in a lr e a d y f o r m u l a t e d g e n e r a l p h ilo s o p h ic a l th e s e s a n d p o s itio n s . E v e n 10 Cf. W. W elsch, Traditionelle und moderne Ästhetik in ihrem Verhältnis zur Praxis der Kunst. Überlegungen zur Funktion des Philosophen an Kunsthochschulen, in Z e itsc h rift f ü r Ä sth e tik u n d a llg e m e in e K u n stw isse n sc h a ft, vol. X X V I I I/2 (1 9 8 3 ), p . 265. 11 Cf. ib id . p. 266. 12 Cf. W elsch, Ästhetisches Denken, p p . 1 1 1 -1 1 3 . 254 A r t <-> Aesthetics <-> Philosophy w h e n i t is r e s e a r c h o r i e n t e d . L e t m e m a k e t h e f o l l o w i n g a n a lo g y : a e s th e tic ia n s o f th is p r o v e n ie n c e h a v e a s im ila r a t t i tu d e to w a r d s a r t as a r t ­ ists d o to w a rd s n a t u r e - th e y c o n s i d e r it t h e s o u r c e o f ( p h ilo s o p ic a l) m o ­ tiv es a n d in s p ir a tio n s . I n th is p e r s p e c tiv e b o t h a r t a n d a e s th e tic s a r e t r e a t e d in s tr u m e n ta lly . b. Aesthetics as a philosophical in c lin a tio n towards art A d i f f e r e n t a t t i t u d e to w a rd s a r t ( a n d , o f c o u r s e , to w a r d th e m s e lv e s ) is f o s te r e d b y a e s th e tic th e o r ie s , w h ic h I c o n d itio n a lly r e f e r to as » a rt-d e v o te d « th e o r ie s . T h e s e t h e o r ie s d e c la ra tiv e ly a b a n d o n t h e p o s itio n s o f p h i l o s o p h i ­ c a l in s tr u m e n t a l i z a t i o n o f a r t a n d a e s th e tic s , a n d a t t e m p t to a p p r o a c h a r t b e c a u s e o f a r t itself. T h e y a t t e m p t to m e e t a r t in its w o r k in g e n v i r o n m e n t, a n d a r e w illin g to v iew th in g s f r o m its p e r s p e c tiv e a n d c o n t e m p l a t e a r t t h r o u g h t h e d i o p t e r o f fo rm a tiv e experience. T h e r e a r e s e v e ra l r e a s o n s f o r s u c h a n o p e n in clin a tio n o f a e s th e tic s to w a rd s a rt. O n e o f t h e m a in r e a s o n s is, in th e o p i n i o n o f fo llo w e rs o f th is a e s th e tic t r e n d , t h a t a r t w ith its b r o a d r a n g e o f r e s u lts h a s r e a c h e d fa r b e y o n d th e b o u n d a r ie s o f its o w n s p h e r e ; n o t , as in c la s s ic a l a e s th e tic s , re g re s s iv e ly to th e f ie ld o f p h ilo s o p h y , b u t p ro g r e s s iv e ly to th e f ie ld o f life .13 M o r e sp e c ific a lly , in m o d e r n c iv iliz a tio n , m o d e r n a r t h a s g r e a t d ia g n o s tic , t h e r a p e u t i c a n d d e v e lo p m e n t p o te n tia ls to f u n c ti o n as a » la b o r a to r y o f s e n s u a l c o g n itio n « , as a n i n d i s p e n s a b l e m o d e l s p h e r e o f r e f le c tio n o n t h e s e n s u a l a n d , c o n s e q u e n tly , o f m o d e r n s e l f - u n d e r s t a n d i n g .14 (H o w e v e r, it c a n n o t b e d i s r e g a r d e d t h a t e v e n w h e r e t h e r e a p p e a r s to b e a s in c e r e d e s ir e to b r i n g a e s th e tic s c lo s e r to a r t, t h e r e a r e still in s t r u m e n t a l i z a t i o n a l m o tiv e s im m e d ia te ly b e n e a t h t h e s u r f a c e ) . T h e f u n d a m e n t a l m o tiv e o f a r t- d e v o te d a e s th e tic s is to a n a ly tic a lly e x ­ p l a i n t h e c o n c r e t e f o r m a tiv e s tr a te g ie s , d e v e lo p m e n t a n d s o c ia l- c r itic a l p o t e n tia ls o f e a c h b r a n c h o f a r t. A rts a ls o e x p lic itly w ish to b e - a n d th is is s u p p o s e d ly e v e n a c r it e r i o n o f t h e i r m o d e r n e n e s s - u s e f u l in t h e p r o c e s s o f t h e i r c r e a tiv e s e lf - r e f le c tio n a n d s e lf - a r tic u la tio n . A n y d o g m a tis m a n d a n y n o r m a tiv is m a r e e x p lic itly e x c lu d e d ; f r o m th is a s p e c t, t h e r o l e o f a e s th e tic s s h o u l d b e lim ite d s o le ly to t h a t o f a » m a ie u tic f e r m e n t« (W e ls c h ). A t th is d e lic a te p o in t, a r t- d e v o te d a e s th e tic s alw ays e n c o u n t e r d if f ic u l­ tie s d u e to t h e v e ry » o n to lo g ic a l d if f e r e n c e « b e tw e e n th e tw o fie ld s , i f I a m a llo w e d to e m p lo y s u c h p h ilo s o p h ic a l d ic tio n . T h e f irs t p r o b l e m is in t h e f a c t t h a t a e s th e tic s c a n s tu d y a r t o n ly w h e n a r t is a lr e a d y a r tic u la te d . B e c a u s e a r t is c o n tin u o u s ly r e c r e a t i n g its e lf b y 13 Cf. Friedrich Nietzsche, Geburt der Tragödie, in Kritische G esam ausgabe vol. I I I / 1, ed. G. Colli and M. M ontinari (B erlin/N ew York 1977), p. 8. 14 Cf. Welsch, Traditionelle u n d moderne Ästhetik in ihrem Verhältnis zu r P raxis der K un st, pp. 272-273. 255 J o že f M u h o v ič d e f in i n g its e lf a n d th u s e x h a u s tin g its c r e a tiv e a b ilitie s , a e s th e tic s o n ly g e ts t h e o p p o r t u n i t y to s tu d y it post festu m . I n o t h e r w o rd s : a r t h a s to d ie ( in th e c r e a tiv e s e n s e ) so th a t a e s th e tic s c a n d is s e c t ( a n a liz e ) it. T h e p r im a r y p o s i­ tio n o f a n a e s th e tic ia n in r e la t io n to a r t is t h e p o s itio n o f t h e u s e r , n o t th e p r o d u c e r . A n d , as P. Valery w rite s in h is f a m o u s Cours de la poïétique, th e p r o d u c e r a n d t h e u s e r a r e tw o e s s e n tia lly s e p a r a t e d sy stem s. F o r t h e firs t, t h e p r o d u c t is t h e e n d , a n d f o r th e s e c o n d th e b e g i n n i n g , o f d e v e lo p m e n t. T h e id e a s w h ic h t h e tw o o f th e m h a v e r e g a r d i n g th e s a m e w o rk o f a r t a r e n o t c o m p a t i b l e .15 V a lé r y ’s th e o r y o f a b s o lu te d if f e r e n c e m a y b e e x a g g e r ­ a t e d , y e t I n e v e r th e le s s s u p p o r t th e o p i n i o n t h a t t h e d if f e r e n c e s b e tw e e n th e a t titu d e s o f a n a r tis t a n d a n a e s th e tic ia n to w a rd s a w o rk o f a r t s h o u l d b e c o n s i d e r e d . A n a e s th e tic ia n is - n a m e ly as a n a e s th e tic ia n , ir r e s p e c tiv e o f h is a c tu a lly a t t i tu d e to w a r d s a r t - th e u s e r o f a w o rk o f a r t, a l t h o u g h s o m e ­ w h a t s p e c ia l, a u s e r a posteriori c o n d e m n e d w ith in t h e lim its o f h is p o s itio n a n d h is p h i lo s o p h ic a l r o o ts . A n a e s th e tic ia n is, o n t h e o n e sid e , alw ays to o la te to te ll a c r e a t i n g a r tis t w h a t to lo o k f o r a n d c r e a te , b e c a u s e w h e n a e s th e tic ia n s fin a lly d is ­ c o v e r, t h r o u g h in v e s tig a tio n , w h a t th is is, t h e i r d is c o v e r ie s a r e n o l o n g e r s ig n if ic a n t f o r th e p r o d u c e r o f a r t ( t h e v e ry m o m e n t a r t s to p s w a lk in g in f r o n t o f a e s th e tic s , it w o u ld n o lo n g e r b e a rt, b u t w o u ld r e t u r n a m o n g c r a fts ). L ik e a p h i l o s o p h e r , a n a e s th e tic ia n s e a r c h e s f o r th e p h i lo s o p h ic a l e s­ s e n c e o f a r t, w h ic h is w h y h e fin d s it d if f ic u lt to s im u lta n e o u s ly ta k e a e s ­ th e t i c p le a s u r e in a w o r k o f a r t. H is i n t e r e s t is d e v o te d to t h e p h i lo s o p h ic a l a s p e c ts o f a w o rk o f a r t ( a n d n o t its i m m a n e n t a r tis tic a s p e c ts ) , t h o u g h th e p u r p o s e a n d m e a n i n g o f a w o r k o f a r t a r e n e v e r e x h a u s te d b y th e m . A n a e s t h e t i c i a n ’s » in f r a s tr u c tu r a l« p h ilo s o p h ic a l s y s te m r e p r e s e n ts a b a r r i e r b e tw e e n h im a n d a w o r k o f a rt. T h is b r in g s u s to t h e s e c o n d o b s ta c le p r e v e n t i n g a e s th e tic s f r o m b e i n g d ir e c tly u sefu l to a r t in t h e c r e a tiv e s e n s e . A e s th e tic s as a p h ilo s o p h ic a lly fo rm a tte d th e o r y c a n n e v e r , in a n y f o r m , b e n e u t r a l to w a rd s a r t. I t fa v o u rs p r e c is e ly th o s e c o n t e n t s , f o r m s , f u n c tio n s , p r o b le m s , e tc . in a r t w h ic h s te m f r o m t h e c a te g o r ie s a n d a x io m s o f its p h ilo s o p h ic a l background. T h e b a s ic m e t h o d e m p lo y e d b y a e s th e tic ia n s in r e la t io n to a r t c o u ld t h e r e f o r e b e s c h e m a tic a lly d e s c r ib e d as fo llo w s: firs t o f all th e y id e n tif y a n d d e l i n e a te , d e p e n d i n g o n t h e c a te g o r ie s a n d a x io m s o f t h e i r p h ilo s o p h ic a l in f r a s tr u c ­ t u r e , t h e a r e a o f a r t w h ic h th e s e c a te g o r ie s a n d a x io m s a r e c a p a b le o f c o v e r­ in g , p r o c la im th is a r e a as a r t, a n d th e n , w ith in s u c h a r e s tr ic t e d a r e a , a t­ t e m p t to p r o v e a n d » p ro v e « t h a t th is is » tru e « a r t. A rtis ts a ls o u s e t h e s a m e 15 Cf. B. Ghiselin, The Creative Process (L ondon: A M en to r Book, 1961), p. 96. 256 A r t <-> Aesthetics <-> Philosophy m e t h o d w h e n , t h r o u g h t h e i r w o rk , th e y d e l i n e a te t h a t p a r t o f r e a lity w h ic h th e y a r e a b le to c a p tu r e w ith t h e i r m e a n s a n d m o d e s o f e x p r e s s io n , a n d s h a p e it as t h e i r (a rtis tic ) re a lity . E v id e n tly , a c o n s id e r a b le a m o u n t o f r e a l­ ity r e m a in s o n t h e o u ts id e a n d is le f t to f u t u r e g e n e r a t i o n s o f a r tis ts , w h o u s u a lly f in d t h e i r u n c u ltiv a te d fie ld s p r e c is e ly o n th is » r e m a in d e r « . N a tu r e , i.e . th e r e a l w o rld , is s u c h a n e x te n s iv e a r e a t h a t it c a n n o t b e fu lly e x h a u s te d b y a n y a r t, n o r c a n a n y a e s th e tic s e m b r a c e a r t in a ll its d i m e n s i o n s .16 T h e m o d e l o f a e s th e tic in c lin a tio n to w a rd s a r t c o u ld b e s c h e m a tic a lly p r e s e n t e d as fo llo w s: a e s th e tic s trie s to ta k e a tr u e i n t e r e s t in a r t, b u t o n th is p a t h it im p lic itly d ra g s in s tr u m e n ta liz a tio n a l in t e n t io n s j u s t if ie d in its p h i l o ­ s o p h ic a l b a c k g r o u n d . O n th e o n e s id e o n e h a s to a d m i t th a t, d e s p ite th e » fa ta l a ttr a c tio n « t h a t b in d s t h e m , a r t a n d a e s th e tic s a r e n e v e r th e le s s tw o v e ry d i f f e r e n t s p ir ­ itu a l p o s tu r e s , e a c h w ith its o w n c a te g o r ic a l a p p a r a tu s a n d w ay o f th in k in g . T h e c o n c e p ts a n d c a te g o r ie s w h ic h th e y o c c a s io n a lly l e n d to o n e a n o t h e r u s u a lly c h a n g e t h e i r c h a r a c te r as s o o n as th e y a r e i n t e g r a te d in a s p e c ific s y ste m o f a r tis tic o r p h ilo s o p h ic a l th o u g h t . O n th e o t h e r s id e , t h e r e is n o d e n y in g t h a t i t m a y b e a s s u m e d , w i t h o u t e x a g g e r a tin g , t h a t in r e l a t i o n to a r t, a e s th e tic s h a s f a r f r o m u tiliz e d all its re fle x iv e p o t e n t i a l s a n d t h a t a ll g r e a t a r t a ls o h a s philosophical d im e n s io n s . c . Aesthetics as a philosophical »centralizing on art« T h is la s t a p p r o a c h is, in m y o p i n i o n , a n o p p o r t u n i t y f o r f u t u r e i n t e r ­ d is c ip lin a r y s h ifts in t h e r e la tio n b e tw e e n a r t a n d a e s th e tic s . I h a v e d e s ig ­ n a t e d th e s e s h ifts w ith th e e x p r e s s io n » c e n tr a liz in g o n a rt« . I n p r a c tic e th e y a r e n o t n u m e r o u s , b u t m a y b e e x p e c t e d w h e r e v e r (1 ) a e s th e tic s b e g in s to r e a liz e t h a t a r tis tic h a p p e n in g s a r e n o t m e r e ly a r e f le c tio n o f its p h i l o s o p h i ­ c a l b a c k g r o u n d , a n d , w ith th e re fle x iv e e x p e r i e n c e it p o s s e s s e s , i t m a k e s its e lf a v a ila b le to th e a r tis t as a c o l l a b o r a t o r in th e p u r i f i c a t io n a n d a r tic u la ­ tio n o f th e a r t i s t ’s f o r m a tiv e t h o u g h ts a n d d e s ir e s ,17 a n d (2 ) t h e th e o r ie s t h a t h a v e autochthonously g ro w n f r o m in d iv id u a l d is c ip lin e s o f a r t d e v e lo p to a lev el o f c o n c e p t u a l c o n s is te n c y a llo w in g th e m to e s ta b lis h f r u itf u l c o n 16 Today it is becom ing increasingly m ore clear th at it is n o t possible to g eneralize an d systematize all artistic expressions and styles in a single philosophical system. In the same way as philosophical systems differ am ong themselves, so do artistic expressions an d th e valuations o f the world and life expressed in them . Only those aesthetic trends th at grow from the sam e life substance and the same valuation o f the world as a rtistic system s o f ex p ressio n are able to m erg e w ith th em in to su fficien tly h o m o g e n e o u s re fle c tiv e a n d p a ra d ig m a tic e m o tio n a l system s w h ich allow u n d erstan d in g an d m utual fertilizing. 17 Cf. W. Welsch, Traditionelle u n d moderne Ästhetik in ihrem Verhältnis z u r P raxis der K unst, p. 280. 257 J o že f M u h o v ič c e p tu a l c o n t a c t w ith a e s th e tic s as a p h i lo s o p h ic a l d is c ip lin e . T h e r e f o r e , I c a n s e e t h e p e r s p e c tiv e in t h e in te r a c tiv e lin k in g o f a n e m a n c i p a t e d a e s ­ th e tic th e o r y p r e p a r e d to o f f e r a r t its re fle x iv e p h ilo s o p h ic a l s e rv ic e s in th e s p h e r e o f a r t ’s » p h ilo s o p h ic a l d im e n s io n s « , a n d a th e o r y o f a r t t h a t w ill giv e a c c e s s to p h ilo s o p h ic a l r e f le c tio n a n d in s p ir e a e s th e tic s f o r t h e r e f l e c t i o n o f t h e a r tis tic , a e s th e tic d im e n s io n s (i.e . b o u n d to t h e s e n s u a l a s p e c t o f a c e r t a i n b r a n c h o f a r t) o f a rts . F o r a e s th e tic s , c e n tr a liz in g o n a r t d o e s n o t m e a n s t e p p i n g f r o m o n e f o r m o f sla v e ry ( m a id o f p h ilo s o p h y ) in to a n o t h e r ( m a id o f a r t ) , b u t fu lly d e v o tin g its e lf to its » s u b je c t« a n d g iv in g b a c k to a r t w h a t it m a n a g e d to » te a r aw ay« f r o m a r t in p u r i f i e d f o r m by t h e s w e a t o f its fa c e . A n a e s th e tic s w h ic h m a n a g e s to r e a c h t h e tip o f t h e b r u s h , c h is e l a n d h e a r t... 3. A r t <-> Philosophy I n its r e la tio n w ith a r t, p h ilo s o p h y c a n , in m y o p i n i o n , e q u a lly u tiliz e a ll t h r e e m a c r o s tr a te g ie s a c c e s s ib le t h r o u g h a e s th e tic s : in stru m e n ta l ( p h i ­ lo s o p h y v ia a r t ) , m eta in stru m en ta l ( p h ilo s o p h ic a l i n c lin a tio n to w a rd s a r t) a n d phenom enological o r investigative ( p h ilo s o p h ic a l c e n tr a liz in g o n a r t ) . D e ­ p e n d i n g , o f c o u r s e , o n t h e c ir c u m s ta n c e s a n d c u r r e n t g o a ls. P h ilo s o p h y c a n s e e in a r t t h e k e y t h a t o p e n s th e d o o r o f re a lity , a m e a n s o f h e l p i n g i t to g ro w , a p h e n o m e n o n t h a t a d d r e s s e s a n d re fle x iv e ly in s p ir e s it, o r as a c o m ­ p le x r e a lity w h o s e d im e n s io n s it w ish e s to d is c o v e r. - S o m e t h in g s im ila r ly g r a d u a l is s e e n in p h i lo s o p h y b y a r t o r th e a r tis t as h e r e p le n is h e s h is » p h ilo ­ s o p h ic a l« ta n k s f o r n e w e x p r e s s iv e fe a ts. IV . Code T h e r e la tio n b e tw e e n a r t, a e s th e tic s a n d p h ilo s o p h y p r e s e n t e d in th is c o n t r i b u t i o n is, as w as e x p e c te d , m e re ly a r o u g h ( m a c ro ) » m a p p in g « o f th e in te r a c tiv e s p a c e . I d o fe e l, h o w e v e r, t h a t th is c o n t r i b u t i o n h a s th e p o t e n t i a l to o p e n a d e b a te o n t h e p r a c tic a l n e e d f o r m o r e s y s te m a tic r e f le c tio n o n th e r e la tio n s b e tw e e n a r t, a e s th e tic s a n d p h ilo s o p h y , a n d o ffe rs a g o o d s ta r tin g p o in t. T h is s ta r tin g p o i n t c o u ld b e th e fo llo w in g : th in k in g a b o u t a r t is p o ss i­ b le o n ly w ith its a s s is ta n c e . W ith o u t its h e lp w e a r e u n a b le to e n t e r i n t o it. If, in th e c o u r s e o f c r e a tio n , a n a r tis t th in k s a b o u t h is a r t, t h e n th e o r e tic ia n s s h o u ld a lso m a k e a n e f f o r t to u n d e r s ta n d h is a rtis tic » la n g u a g e « . T h is is th e o n ly w ay th e y u n d e r s ta n d a n d re a liz e t h a t a r t - in th e s a m e w ay as p h ilo s o p h y — is c o n tin u o u s ly q u e s tio n in g its e lf a b o u t itself, t h a t it is q u e s tio n a b le to its o w n self, a n d th u s fa r f r o m b e in g s o m e th in g t h a t is s e lf - u n d e r s ta n d a b le . 258