The physical stimuli and the
physiological reactions evoked by them are important for our purpose
only so far as they help us to understand the inner experiences with
which they are correlated. A large part of our work, therefore, will
consist in the psychological analysis of the experience of art and the
motives underlying its production. We shall have to distinguish the
elements of mind that enter into it, show their interrelations, and
differentiate the total experience from other types of experience.
Since, moreover, art is a social phenomenon, we shall have to draw
upon our knowledge of social psychology to illumine our analysis of
the individual's experience. Art is a historical, even a technical,
development; hence the personal enjoyment of beauty itself is
conditioned by factors that spring from the traditions of groups of
artists and art lovers. No one can understand his pleasure in beauty
apart from the pleasure of others.
In so far, on the other hand, as aesthetics is an attempt to define
the purpose of art and so to formulate the standards presupposed in
judgments of taste, it is closely related to criticism. The relation
is essentially that between theory and the application of theory. It
is the office of the critic to deepen and diffuse the appreciation of
particular works of art. For this purpose he must possess standards;
but he need not be, and in fact often is not, aware of them. A fine
taste may serve his ends. Not infrequently, however, the critic
endeavors to make clear to himself and his readers the principles he
is employing.
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