What is an aesthetic attitude, and what does Stolnitz mean by “disinterested” and “empathic” contemplation?

Stolnitz describes aesthetic attitudes as disinterested and empathic contemplation of the object itself, as opposed to practical perceptual attitudes based on utility. The disinterested attitude is to appreciate the object as it is, without any interest in it, while the empathetic attitude is to respond to the object on its terms, without prejudice. Contemplation is an active attention to the intricacies and details of an object, which allows the viewer to have a rich aesthetic experience.

 

Stolnitz argues that every object we perceive with an aesthetic attitude becomes an aesthetic object. This aesthetic attitude differs from a practical perceptual attitude, in which 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 rather with an interest in the apple itself.
The disinterested attitude contrasts sharply with the utilitarian attitude that we often encounter in our daily lives. A utilitarian attitude views an object as a means to an end and includes an expectation of how the object will benefit us. For example, when a carpenter looks at a tree, he considers what he can make with it and how valuable a product he can create. On the other hand, someone who looks at a tree with a disinterested attitude enjoys and appreciates its grain, color, scent, and shape for its own sake.
And by “empathic,” we mean that when the viewer responds to an object, they do so in such a way that they accept the object 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.
Empathy is especially important when appreciating contemporary art. Because contemporary works of art attempt to go beyond traditional aesthetic standards and explore different modes of expression, it is difficult to recognize their true value if you approach them with preconceived notions or prejudices. Viewers should keep an open mind and try to understand the intention and expression of the artwork, which will allow them to form a deeper connection with it.
Finally, “contemplation” is not just a gaze, but an active attention to an object by the viewer. Contemplation can also occur in conjunction with activity, such as a viewer listening to music who 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 the unique value of an object, you must also pay attention to its intricate and delicate details. Being sensitive to these details is discernment.
In other words, discriminating allows us to have a richer aesthetic experience. You can develop this skill by repeatedly experiencing a work of art, studying knowledge such as the expressive techniques or components of a work of art, or practicing technical training in the art form. It involves more than just looking at a lot of artwork, it involves analyzing each piece in depth, making comparisons, and trying to understand its aesthetic value. Understanding the historical background of a work of art, the artist’s intentions, and the social context also helps to improve discrimination.
Through this process, the viewer can enjoy a richer and deeper aesthetic experience, which ultimately leads to the realization of the true value of an aesthetic attitude. Stolnitz emphasizes that aesthetic attitudes are more than just a hobby or entertainment; they are an important factor in enriching human life and promoting emotional growth.