∆sthetic Principles

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Macmillan, 1901 - Aesthetics - 201 pages
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Page 180 - All that is confused and indistinct, without form, or sex, or accent, is antagonistic to beauty; for the mind's first need is light; light means order, and order means, in the first place, the distinction of the parts, in the second, their regular action. Beauty is based on reason.
Page 115 - ... we call our aesthetic field. The artist must employ all means which lead to the attainment of immediate pleasures so far as these are compatible with the production of pleasures in revival. He may add much in the way of mere presentative pleasure which may or may not bring us pleasurable effect in revival, and all such added pleasure in presentation is a gain to the work as art, provided it neither brings pain in revival nor swamps with resulting indifference the revivals which are pleasurable....
Page 185 - ... rooms in which we wish to live, or in buildings which we are compelled to view constantly. On the whole it appears that the safest means of producing lasting aesthetic results will be reached if we choose that succession of contents, each of which is naturally led up to by those which have preceded. [In physiological language : we will gain our result best if we choose such successive impressions as will stimulate organs that have been best and fully prepared for action by the associative nutrition...
Page 112 - IN the chapters which have preceded this we have seen that aesthetics may with propriety be considered as a branch of hedonics ; as being dependent directly upon pleasure laws and indirectly therefore upon the laws of pain.
Page 203 - No previous writer has given a general formula which covers anything like the same amount of ground. Acquaintance with Mr. Marshall's work will be indispensable to every future student of the subject. His own learning is admirably complete; we cannot name any modern author of consequence, of whose writings he has not taken account. The modesty of his tone is also remarkable, considering that his mental temperament is ' radical,' and that he is fighting for a creation of his own.
Page 16 - ... by the objection that while all -(Esthetic states of mind appear to be pleasurable not all pleasurable states are allowed to pass as aesthetic. The problem which is thus brought forward is an important one which we must consider somewhat at length. It may be stated in the form of the question : What are the bounds of the aesthetic within the hedonic field...
Page 203 - ... should be." — The Independent. " It may well be said that Mr. Marshall's essay is the most successful of all yet published attempts to conceive our pleasures and displeasures under something like a single point of view. . . . No previous writer has given a general formula which covers anything like the same amount of ground.
Page 31 - ... pleasures. It seems but a step, therefore, to the fundamental hypothesis that I shall uphold, which is this : that, as we saw in the early part of the chapter, all that is pleasure at the time makes part of the aesthetic impression; but only that is judged to be aesthetic which appears to be permanently pleasant in revival, ie in the reflection that is necessary in an act of judgment. That which in memory appears thus to be a stable pleasure, we call aesthetic ; what is indifferent in contemplation,...
Page 97 - ... is often amusing to one who looks at the subject from a student's standpoint. Once in a while an individual Ideal, when expressed, enlightens the world of art, and then we have the artistic genius ; he is the prophet who shows to others an ideal field which they at once recognize as effective for themselves, although but for him it would have been unknown to them. To express his own ideal must the artist work. He must indeed produce effective results in the field of presentative aesthetic enjoyment...
Page 18 - ... by the degradation into indifference or positive painfulness of the special elements which were giving us pleasure. The suggestion of a painful association with some essential element in an art complex will for all time reduce for us the aesthetic value of the whole form. One special mountain of great natural charm has lost for me all of its impressiveness, because a light-hearted companion once compared its autumn colouring with that of "corned-beef hash.

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