Art as Experience
is a pure philosophical book of all arts: architecture, sculpture, painting, music, and literature.
The live creature:
In order to understand the meaning of artistic products, we have to forget them for a time, to turn aside from them and have recourse to the ordinary forces and conditions of experience that we do not usually regard as esthetic.
It is quite possible to enjoy flowers in their colored form and delicate fragrance without knowing anything about plants theoretically. But if one sets out to understand the flowering of plants, he is committed to finding out something about the interactions of soil, air, water and sunlight that condition the growth of plants.
Having an experience:
Experiencing like breathing is a rhythm of intakings and outgivings. Their succession is punctuated and made a rhythm by the existence of intervals, periods in which one phase is ceasing and the other is inchoate and preparing.
An engraver, painter, or writer is in process of completing at every stage of his work. He must at each point retain and sum up what has gone before as a whole and with reference to a whole to come. Otherwise there is no consistency and no security in his successive acts.
The act of expression:
The difference between the artificial, the artful, and the artistic lies on the surface. In the former there is a split between what is overtly done and what is intended. The appearance is one of cordiality; the intend is that of gaining favor. When the natural and the cultivated blend is one, acts of social intercourse are works of art.
Dance and sport are activities in which acts once performed spontaneously in separation are assembled and converted from raw, crude material into works of expressive art.
One may cry out with joy or even weep upon seeing a friend from whom one has been long separated. The outcome is not an expressive object—save the onlooker. But if the emotion leads one to gather material that is affiliated to the mood which is aroused, a poem may result. In the direct outburst, an objective situation is the stimulus, the cause, of the emotion. In the poem, objective material becomes the content and matter of the emotion, not just its evocative occasion.
The organization of energies:
It has been repeatedly intimated that there is a difference between the art product (statue, painting or whatever), and the work of art. The first is physical and potential; the latter is active and experienced. It is what the product does, its working.
