By Henry G. Hartman
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Extra resources for Aesthetics: A Critical Theory of Art
15. " I do not feel justified in entering upon a lengthy criticism of hed onism, but I shall consider it briefly, since a theory that has had and continues to have the plausibility which hedonism enjoys, even in forms sometimes only slightly disguised, must possess either some vitality or a very cleverly concealed fallacy. " This line of argument is fruitless, but I shall give it a passing recognition. The pleasure associated with a game, they would hold, is different in kind from the pleasure associated with art.
But art is art and psychology is psychology; the two things are not one. It is obvious that art has a psychological side; first, in the fact that the materials of the arts are largely of an order designated in psychology as sensations and perceptions; and, secondly, in the fact that art grows out of the needs of man and caters to many of his natural and cultivated interests. way theorists Let us then note the commonly construe the and psychology, and the correction relation of art of which they stand in need.
We But, may reply, to call everything art, is to call nothing in particular art; for art, if distinctive, presupposes the existence of certain characteristics whereby it can be shown to differ from other things. However, in his mode of reasoning, we efface not only all distinctions between art and the generality of plex psychophysical ^ AESTHETICS 58 but every vestige of difference said to exist among things in general. Such a theory, in plain In its more moderate con terms, is sheer anarchy. things, ception, the Intellectualistic Theory, as it is termed, is In identified with truth or an ideational content.
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