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called "isolation » 18 identification of the
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ARCHIE J. B AHM complete in itself and "moral" when it is felt as the other, except momentarily, is, in effect, incomplete and needing something more to com- to destroy them plete it. ... This distinction between "aesthetic"
This issue recurs in disputes as to and "moral" may be stated also in terms of intrinsic and instrumental values. Disregarding for whether an art object is restful or arrestpresent purposes those values, intrinsic or instru- ing. If one's attention is not arrested by mental, which may exist independently of ex. it. he will not come to rest in it. If one's perience, we may define the "aesthetic" and the
interest is not aroused, it cannot be held "moral" in terms of experiences as intrinsic and instrumental values. An experience itself is an in suspense, peace, or repose. The paraintrinsic value to the extent that it is experienced doxicalness of disinterested interest, to as complete in itself. Such an experience is "aes- say nothing about obligations to become thetic." An experience is itself an instrumental interested in disinterested interest has value to the extent that it experiences itself
been grappled with at great length in as a means to something more. Such an experience is "moral." 17
Hindu21 and Buddhist22 wisdom literature.
The goal of life is disinterested enjoyBullough uses the term practical instead ment, i.e., aesthetic, but one cannot lose of moral and the terms unconcern or interest in life, i.e., remain purely aesthetic, disinterest to designate the aesthetic. Al- without thereby soon losing a goal for life. though ideas and feelings of distance, One must remain interested in disinterestwhether in space or time or culture, may edness or disinterestedness itself will disindeed serve as one of the principles of appear.
The foregoing issues all seem to involve called "isolation," 18 identification of the polarities for Organicism. And Organiaesthetic, which involves intrinsic value, cism depicts resolution of such issues in with a non-value principle and, worse, terms of the nature of polarity.23 Consewith only one of several such principles, quently, it approves focusing attention must be regarded as inadequate, to say directly upon the polar nature of issues the least. The problem with which Bul- in aesthetics, as does Theodore M. Greene lough struggles valiantly, but unsuccess in discussing fully according to most critics, about in
... three specific polarities or tensions which creasing the distance (with which he
must be resolved if a work of art is to possess identifies the aesthetic) which does not in artistic merit. These are (a) the polarity of simfact always increase the aesthetic, may be plicity versus complexity, whose resolution is the
mean of organic unity; (b) the polarity of order restated in terms of the aesthetic and the
versus novelty, whose mean is expressive origimoral being aspectival ingredients in most
nality; and (c) the polarity of the denial versus experiences. Whereas some Hindus, e.g., the idolatry of medium, whose resolution is the Advaitins and Theravada Buddhists, ideal- expressive exploitation of the medium. These ize complete absence of the moral from
polarities and means are all equally applicable
to works of art in any medium. ... These three the aesthetic, Gotama, the Buddha,19 and
means ... are obviously aspects, or factors, of a Zen,20 tend to prefer experiencing detach- single organic mean of artistic perfection as ment continuingly in everyday life rather such. than, as in arahatship and zazen, in isolation My reaction to Greene's analysis, after from such life. The art of living is the most initial admiration, is four-fold: A. There important of the fine arts, and such art is are polarities involved in works of art better when one recognizes the variable in- because they are polarities of experience, terdependence of the aesthetic and the not merely of art experience. B. There moral, or of intrinsic and instrumental are more than three polarities of experivalues, as something desirable, rather than in ence, all of which may also be taken into seeking to eliminate either one or the other. account in artistic analysis. C. One does If enjoyment, i.e., intuïtion of intrinsic not seek an Aristotelian mean between value, is the end of life, then the practical extremes, but rather regards the poles as or the moral is properly defined in terms of idealized limits projected from an exits service to the aesthetic; to isolate one from perienceable range of variations in either
