Abstract
This article offers some philosophical speculation on the particular quality
of aesthetic appreciation proper to an accomplished artist with specific
reference to a performer of J.C. Bach’s organ works. This speculation,
however, requires in the first instance an examination of the notion of
scientia in Thomas Aquinas. Here the ideas of cause and effect as well as
that of apprenticeship under the guidance of a master are central. This
speculation also demands a prior consideration of Aquinas’s notion of
two manners of judging — by way of rational enquiry (per modum cognitionis)
and by way of inclination (per modum inclinationis). Building on
Thomas’s thought, the article then offers a rationale as to why an accomplished
performer of Bach’s organ music can be considered to be a rule
and measure of aesthetic experience pertaining to the performance by
others of Bach’s organ music.
Introduction
In an article dealing with art production and art appreciation, Anil
Gomes quotes the advice often given to aspiring writers on creative
writing courses: «[I]f you want to write a book, read a library».[1] This
advice is predicated on some link between the appreciation of art and
its production and can be stated in more general terms: «Art appreciation
can enable one to develop skills exercised in art production».[2] Arguably,
however, the reverse dynamic also obtains, namely that the development
of skills in art production contributes to one’s ability to appreciate art.
It is with this reverse dynamic that this article is concerned.
Gomes and others have been concerned to outline a virtue theory of
art analogous to a virtue theory of ethics.[3] Indeed, Peter Goldie argues
that the connection between ethics and art «is more than just an analogy
». He claims that artistic activity, as an expression of both producing
and appreciating artifacts, is «a constituent part of what goes to
make up human well-being».[4] Roger Poivet for his part, in his Le réalisme
esthétique, devotes a full chapter to aethetic virtues.[5] After the
coming to age of virtue ethics and the advent of virtue epistemology
we are still nevertheless awaiting the flourishing of what might be
termed virtue aesthetics.
In this article I propose to draw upon some resources to be found in
the thought of Thomas Aquinas and in the Aristotelian tradition of
virtue ethics in general in order to reflect upon the causal influence of
powers of artistic production on powers of aesthetic perception. In particular,
I will offer some philosophical speculation on what I deem to
be a particular quality of aesthetic appreciation, namely that of the accomplished
artist with particular reference to the trained classical musician.
As a necessary prerequisite for such speculation, however, I
must first of all examine the notion of scientia in Aquinas, in which the
ideas of cause and effect as well as that of apprenticeship under the
guidance of a master loom large. This speculation will also require prior
consideration of another aspect of Aquinas’s thought, namely, the notion
of two manners of judging — by way of rational enquiry (per
modum cognitionis) and by way of inclination (per modum inclinationis).
The distinction between these two manners of judging is relevant to
all judgements of value, of which the kind of judgement proper to aesthetic
appreciation is a particular instance. Having looked at Aquinas’s
understanding of scientia and his notion of two ways of judging, I will
then be in a position to pass on to a discussion of the kind of aesthetic
appreciation enjoyed by a gifted organist schooled in the tradition of
interpretation of J.S. Bach’s organ music.
[1] A. GOMES, Goldie on the Virtues of Art, «British Journal of Aesthetics» 49 (2009),
p. 75.
[2] Ibidem.
[3] See, for example, P. GOLDIE, Towards a Virtue Theory of Art, «British Journal of
Aesthetics» 47 (2007), pp. 372–387.
[4] Ivi, p. 373.
[5] See R. POUIVET, Le réalisme esthétique, Presses Universitaires de France, Paris 2006,
pp. 179–222. The medium with which he engages is that of literature.
[…]
Pagine: