TAILIEUCHUNG - AESTHETIC EXPERIENCE AND HUMAN EVOLUTION

Mechanical Reproduction’, in which he argued that mechanical reproduction destroys the aura of the formerly unique work of art and thus, for the first time in history, ‘emancipates the work of art from its parasitical dependence on rit- ual’ (Benjamin, 1979: 224) It is precisely in the dissemination of mechanical- ly reproduced artworks that quantity leads to the quality of a modern society, thereby gaining a new politically relevant status. In contrast to the ‘pure’ art of former centuries, it affords modern artworks a social function for the masses | ELLEN DISSANAYAKE Aesthetic Experience and Human Evolution Today it is generally agreed that certain works made by members of societies other than our own are worthy of our aesthetic regard and deserve to be called art. This now unexceptionable attitude is however less than a century old. It indicates one hopes a growing acknowledgement that the similarities among humankind are more significant than their differences. Yet modern aesthetic theory in the West rarely has taken account of the contemporary willingness to regard artifacts from non-Western cultures as art. Its theoretical preconceptions are in the main derived from Enlightenment and Romantic thinkers for whom the few exotic artifacts of their acquaintance were mere savage or M barbaric curios of ethnographic but not aesthetic interest. These influential pred-Ì ecessors were unlike US today ignorant of Lascaux unaware of the implications or ex-tent of man s protohistory and unfamiliar j with the diversity and magnificence of human imaginative creations. The legacy of j their presuppositions . disinterested contemplation or an aesthetic attitude I standards of taste and discrimination that _ are universally-knowable or agreed-upon fine arts art-for-art s-sake an aesthetic emotion seem irrelevant or misplaced when applied to primitive or prehistoric art. In addition much of the artistic pro- duction of the world s other high civilizations not to mention recent contemporary Western art strains the explanatory powers of modern Western aesthetic It would seem that a different more contemporary and relevant approach might now be welcome. Although I am not pre- Ellew DrsSANAYAKE is lecturer at the National Arts School in Papua New Guinea. pared here to attack all the cluttered corners I would like to suggest that we try a new broom one made available to US by the postulates of bioevolutionary Immanuel Kant s difficult notion of the subjective purposiveness of nature assumed that nature was .

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