us in terms of perception. For instance, if we do not agree with the moral nature of the object of aesthetic experience, we are to inhibit our responses, as far as we want to experience it aesthetically. If we do not we are, according to Stolnitz, not giving it a chance. We have been discussing this above to a sufficient degree to omit saying much more about it. I will just remind the reader that knowledge about the work of art is relevant if it helps focus the perceiver's attention and irrelevant if it draws attention to itself (and as such away from the work of art). Section XVIII Definition of – ’Attention’ Furthermore, we have to deal with. Stolnitz turns against the notion that aesthetic “attention” perception is some kind of cow-like stare,” a notion which, he believes, is derived “blank, from aesthetic perception as characterized as just looking, without any activity or practical interest. From here a step is taken to that aesthetic perception is had when you expose yourself to a work of art and allow it to bombard you with of sound and color.” He turns “waves against this and says that this is contrary to experience. In fact, he says, we are absorbed into music or novels. In taking the aesthetic attitude, we want to make the value of the object come fully alive in our experience. Therefore we focus our attention upon the object and up” our capacities “key of imagination and emotion to respond to it. Further Attention is always a matter of and in different instances of aesthetic perception, degree, attention is more or less intense. A color, briefly seen, or a little melody, may be apprehended on the of consciousness, whereas a drama will absorb us wholly. But to whatever the “fringe” extent it does so, experience is aesthetic only when an object our attention. “holds” Attention, then, is an important aspect of the aesthetic experience and can also take expression in physical enactments, such as tapping your foot to the music. Stolnitz believes that there is nothing inherently un-aesthetical to that activity, at least. Stolnitz perspective is that, while it may not be an integral part of the aesthetic experience, one might have to engage physically in order to be able to fully perceive all the relevant aspects of an artwork. Such as walking around a sculpture in order to get a fuller view of it than one would've got if satisfied with just one perspective.
us in terms of perception. For instance, if we do not agree with the moral nature of the object of aesthetic experience, we are to inhibit our responses, as far as we want to experience it aesthetically. If we do not we are, according to Stolnitz, not giving it a chance. We have been discussing this above to a sufficient degree to omit saying much more about it. I will just remind the reader that knowledge about the work of art is relevant if it helps focus the perceiver's attention and irrelevant if it draws attention to itself (and as such away from the work of art). Section XVIII – Definition of ’Attention’ Furthermore, we have “attention” to deal with. Stolnitz turns against the notion that aesthetic perception is some kind of “blank, cow-like stare,” a notion which, he believes, is derived from aesthetic perception as characterized as just looking, without any activity or practical interest. From here a step is taken to that aesthetic perception is had when you expose yourself to a work of art and allow it to bombard you with “waves of sound and color.” He turns against this and says that this is contrary to experience. In fact, he says, we are absorbed into music or novels. In taking the aesthetic attitude, we want to make the value of the object come fully alive in our experience. Therefore we focus our attention upon the object and “key up” our capacities of imagination and emotion to respond to it. Further Attention is always a matter of degree, and in different instances of aesthetic perception, attention is more or less intense. A color, briefly seen, or a little melody, may be apprehended on the “fringe” of consciousness, whereas a drama will absorb us wholly. But to whatever the extent it does so, experience is aesthetic only when an object “holds” our attention. Attention, then, is an important aspect of the aesthetic experience and can also take expression in physical enactments, such as tapping your foot to the music. Stolnitz believes that there is nothing inherently un-aesthetical to that activity, at least. Stolnitz perspective is that, while it may not be an integral part of the aesthetic experience, one might have to engage physically in order to be able to fully perceive all the relevant aspects of an artwork. Such as walking around a sculpture in order to get a fuller view of it than one would've got if satisfied with just one perspective.