Stolnitz argues that an aesthetic attitude is a disinterested, empathetic contemplation of an object that is not based on its utility. This attitude is applied not only to works of art, but also to everyday life and digital media to enrich our aesthetic experience.
Stolnitz argues that every object we perceive with an aesthetic attitude becomes an aesthetic object. An aesthetic attitude is different from a practical perceptual attitude, where we view an object based on its utility. The aesthetic attitude, he says, is a disinterested and empathetic “contemplation” of the perceived object itself, whether it is a work of art or not.
For Stolnitz, being “disinterested” in an aesthetic attitude is different from being “disinterested” in the sense of not caring about the object. To be disinterested is to not look at an object with the intention of using it, manipulating it, or taking something from it. In other words, to be disinterested is to look at an object with interest in what it looks like and feels like, regardless of any interest in the object. For example, when someone looks at an apple, they are not looking at it with an interest in gaining knowledge or profit, but with an interest in the apple itself.
And to be “empathetic” means that when the viewer responds to an object, they do so in such a way that the object is received on its own terms. To do this, the viewer must suppress reactions such as beliefs or prejudices that separate them from the object. Failure to do so eliminates the possibility of the object being perceived as interesting to the viewer. For example, it is not empathetic for a viewer to reject a sculpture intended to honor a particular deity because it differs from their own religious standards.
Finally, “contemplation” means that the viewer is actively paying attention to the object, not just gazing at it. Contemplation can also occur in conjunction with activity, such as when a listener to music focuses on the music and tunes their hands to the melody. However, active attention to an object is not all that is meant by contemplation. In order to savor an object’s unique value, you must also pay attention to its intricate and delicate details. Sensitively recognizing these details is discernment, which is to say that contemplation with discernment leads to a richer aesthetic experience. This discernment can be cultivated by repeatedly experiencing a work of art, studying knowledge such as the expressive techniques and components of the work, or practicing technical training in the art form.
Putting Stolnitz’s theory into the context of modern society, we can see that new art forms, such as digital media, also require aesthetic attitudes. For example, modern art forms such as video games and digital art can be more than just entertainment or technical accomplishments; they can provide an aesthetic experience in their own right. In this case, the viewer needs to disinterestedly and empathetically contemplate the visuals, storytelling, and interactive elements on the screen. These digital art forms engage the viewer’s attention in a different way than traditional works of art and enable new forms of aesthetic experience.
Aesthetic attitudes can also be applied to everyday life. We can adopt an aesthetic attitude when appreciating natural landscapes or even when looking at everyday objects. It allows us to notice and appreciate the beauty that we often pass by in our daily lives. For example, pausing in the midst of a busy day to look at a flower on the side of the road or watching a sunset can be a deeper experience through an aesthetic attitude.
In conclusion, Stolnitz’s aesthetic attitude can be applied to everything around us, not just works of art, and it can make our lives richer and fuller of meaningful experiences. Aesthetic attitudes allow us to go beyond what we see and develop a deeper understanding and appreciation of the world.
