The aesthetic emotion

Emotion is something that is rarely studied by ethologists as they typically focus on behaviors, such as a message sent (an inflated red pouch on a frigate bird) and a response (females notice and mate with the male). Only a few ethologists concern themselves with any emotional response experienced by the female. Yet, in humans, emotions are a primary element of our studies of visual art. 

Scholars who define art typically define it by reference to the emotion it is said to arouse in both the viewer and the artists. This definition, while appealing, has a number of problems. 

First, it fails to distinguish what art is from what art does (e.g., arouse an emotion). 

Further, it runs the risk of being tautological, inferring a mental state from the art and then using the mental state to explain art (Lewis-Williams 1982). 

In addition, although the emotion aroused by art is said to be pleasure, much of art is said to arouse grave feelings, or it may leave the viewer bewildered, confused, non-plussed, unsure of any emotional reaction (Anderson 1979). Indeed, art may not arouse any emotion; it may arouse “no aesthetic interest” (Brothwell 1976). 

 I recognize, however, that the emotions associated with visual art are often said to be profound, arousing joy and leading to tears.  I also recognize, however, that not all viewers will share the same response.  

However, emotions are fleeting and difficult to articulate (Anderson 1979). Are we really safe in assuming that all dancers share the same emotions, thoughts, and/or beliefs?

A more serious issue here, however, is that emotions and mental processes probably exist because of their influence on behavior, particularly social behavior. An exclusive focus on art and emotion may lead us to ignore art’s social effects. The assumption that any emotions associated with a behavior imply that the behavior is necessarily adaptive can lead even scientific studies astray. Eating high fat foods can be pleasurable; eating many such meals could help promote an early death from chronic disease. While the scarcity of fat in our ancestors’ diet may have promoted our ancestors’ taste for fat, fats are no longer a dietary scarcity. Environments change, and behaviors that were once adaptive may no longer be adaptive. Similarly, although any emotions associated with art may suggest that it once was an adaptation, we cannot use these emotions to argue that it is currently adaptive.

The point of this discussion is not that thoughts or emotion, or even the presumed aesthetic emotion, are irrelevant to visual art. In fact, we can assume that visual art attracts us because it interests us, presumably by provoking some emotion. However, even if we assume that art does arouse an emotion, we still do not know what elicits the emotion. Is it aroused by the color, pattern, form, technique, or the experiences associated with the art object?