The World Explored, the World Suffered Education Issue Nr. 22 September 2019 - Page 24

inner and the outer world which is manifestly structured. And so the learned response to that invitation is an aesthetic way of looking at an object." The common element tying all three sciences together is , according to Jonathan Lear in his work on Aristotle, the desire to understand. Man is not satisfied by facts alone, Aristotle claims, he seeks the justifications for these facts, man wishes to know both what and why. The Why could be the principle which would be revealed by the four kinds of explanation outlined in the Metaphysics. Hylomorphic theory has been haunting aesthetics from the time of Aristotle up to and including the Critical writings of Adrian Stokes. In this theory we have a theory of how the complex human being is teleologically driven in a process of actualisation/development where powers build upon and integrate with other powers beginning from the level of the biological moving to the level of self consciousness via perception, memory and language and terminating in the telos of the actualisation of the potential of rationality in the spheres of practical and theoretical reasoning. This process will obviously involve the holistic organisation of the sensible and intellectual parts of the mind that occurs in symbolic aesthetic encounters with symbolic aesthetic objects. The Desire to understand these parts of the mind is for Aristotle part of the idea of the flourishing life. In a discussion of the representation or imitation of terrible events like death Aristotle points to the interesting fact that even if pity and fear may be involved this occurs under an all encompassing attitude of the desire to learn something from these represented events. Indeed this may be the "mechanism" of the famous Aristotelian "catharsis" where it is insisted that pity and fear are purged or purified. The suggestion here is that the situation of these negative emotions in a positive context transforms them into positive elements of the experience. The Arts are divided by Aristotle into two categories: those associated with material such as paint, stone etc and those associated with "voice": the former being spatial objects and the latter temporal objects which, include the use of music which is suggestive of various uses of language. The use of language however is not demonstrative as is the case with the theoretical sciences but rather the artistic use of language is in accordance with a technical process designed to instrumentally bring about an effect which given our instinctive delight in imitations must be related to the experience of pleasure. The pleasure involved would seem, however, to be a contemplative reflective pleasure and presumably not the kind of pleasure that we might get at the technical creation of a table for a particular use. Such an act of creating a table will not require the kind of systematic knowledge required for the production of an art object. This is connected to the fact that tables are generic objects whereas art-objects have a uniqueness condition tied to their creation. A table can be an imitation of