Mind is the sole self-intelligible thing, and therefore it is entitled to be considered the fountain of existence. - C.S. Peirce
An ordinary object is an encounter, an artwork is an experience. … Ordinary objects can become works of art when perceived from a certain point of view. The difference is one of emphasis, not kind. How this difference is understood depends on a theory of perception.
The belief in an inner and outer world and the springs of behaviour that stem from such a belief are implicit, covert, and deeply ingrained in the psyche.
Are the neocortical zones the standard model loci of initial processing, or do they mediate endpoints of perception as postulated in microgenetic theory?
For microgenetic theory, the quarrel is with the standard model of perception, not action, for perception is interpreted in the same way as production, as an expressive activity that goes out to the world. … The point is that objects take on aesthetic value not by an addition of psychic qualities, but by an accentuation of those qualities as segments prior to their objectification.
From a temporal standpoint, the object includes, as part of what it is, all the phases traversed in its perception, including the subject. That is, the object “out there” has a microtemporal structure that includes earlier phases that lay down the subject. We speak of subject and object, but to be more precise, they are subjective and objective segments in the same act of cognition.
People are quicker to note differences than similarities. However, instead of demarcating and analysing, one finds if one looks more closely that what appear to be distinct nodes in a category, or separate domains of function, are gradations with indistinct borders that are constantly changing and merging.
Value is the bridge form aesthetics to ethics. Central to the continuum is the concept that value is allocated at different segments and in different proportions to the transition form self to object, from drive and intrapersonal desire as one polarity, to attention, then realness and extrapersonal worth at the other. In the compromise of other-centered self-denial and drive-based egoism, the subjectivity of conceptual feeling, in art or ethics, confronts the objectivity of custom and/or approval.
A perception is an adaptive model of the world. The stability of this model is due to its recurrence.
The object is more alive when the life of the artist or observer is engaged.
The timeless objects of aesthetic contemplation become actual through the observers emotions and ideas, while the living things that have our moral attention incite a timeless obligation to protect and trust.
The saint embodies in his acts the ideal of goodness, genius embodies in its works the ideal of beauty. In art, self-realisation trumps obligation, in ethics, in the saintly or compassionate person, they are aligned.
Language tends to fractionate feeling and dispel it over time, art concentrates feeling with greater immediacy. Unlike art, which has been increasingly liberated from mimicry, even tradition and communicability, language cannot escape realism without becoming incoherent or ejaculato.
The attribution of mentality to an artwork or natural object, i.e. the presence in the object of the creative power of a genius or a god, is a species of animistic thought, but it is the first step in a transition from aesthetic to moral concepts.
In that beauty is contemplative and goodness is instrumental, the relation of beauty to morality is like that of perceptual commitment to conceptual obligation. In this respect, there is a comparison of philosophy to life, or theory to behaviour, which is the relation of thought to action, choice to decision, need to satisfaction.
Universality is sameness over difference, in space, time or context. However there are no exact repeatables. Each entity individuates a relational whole, so supra-ordinate or categorical universals are as fictitious as isolated particulars. The idea of an absolute repeatable is motivated by a desire to introduce conceptual stability into a world of change.
The enduring self in relation to the succession of acts is a relation of a category to instance, perhaps it is even the nucleus of the idea of universal and particular.
The concept of a generic category opposed to a particular instance arises as a whole/part relation in time consciousness. The temporal incrementation of spatial wholes, or the elaboration of succession out of simultaneity, is the creation of time order out of non-temporal wholes.
… consistent with the microgenetic account of the sculpting that occurs in every act of cognition. The process of specification leaves the category behind as the part individuates.
The relation of the good to good and bad acts, like that of perfection to genius or corruption, is also a relation of the ‘timeless’ to the temporal.
A population is not involuntarily subjugated by rulers that arise within its ranks. Its beliefs and values create the conditions in which the corruption and oppression flourish.
Ultimately, ethics and aesthetics fuse in a life of self-realisation. What is at stake is authenticity of character.
Microgenetic theory is the basis of an account of ethical conduct and aesthetic feeling in the recurrent specification of acts and objects out of the self, i.e. as self-realisations of character and personality. … The starting point is the description of the mind/brain as a process of self-realisation.
From a process standpoint, art and conduct move from subjective wholes to objective parts. In both, the subject feels the centrality of personal value and motivation. However, the subjective is revived in recreating an artwork, which is vetted fro its power to induce this revival in others and the depth of feeling evoked. Conduct is also vetted by those who revive the act in the imagination according to their valuations, but unlike an artwork, conduct is not revived concretely, only a judgement of its context and consequences. This leads to external judgements in conduct, internal ones in art.