THE HUMAN FACE

This post is devoted to the subject of the aesthetics of the human face. Human beings are naturally engaged with human faces, deriving endless information from reading the thousands of expressions found in faces. Any serious study of aesthetic experience must begin with the face for it is the first thing we recognize and respond to as infants. After we learn to recognize our mother's face we quickly learn to respond to other significant faces as we mature.

As we mature, so does the content that we read into faces-- in fact a measure of our humanity can be determined by the degree to which we can respond to the signals broadcast by the face. For the lover, misreading the signals can be cause for concern. For the artist it can be the cause for elation at the successful portrayal of a significant other.

The film segments on this site are some of the most effective and enjoyable reflections on the mysterious and fascinating subject of the human face. Please enjoy learning more about something that we tend to take for granted-- which in the end is the most fascinating thing in all of human experience.

Bill Havlicek PhD

UT PICTURA POESIS

This blogsite is devoted to the study of aesthetic experience. The study of aesthetic experience entails reflecting on the many ways in which the five senses (mediated by thinking) provides life-enhancing enrichment. This appreciative stance is in keeping with a long tradition in the history of art known as UT PICTORA POESIS. This is a tradition of thinking about aesthetically significant art as part of the fabric of cultural edification in which universal values of: beauty, balance, moral and ethically important stories and ideas are embodied in the media of art. Here painting shares characteristics with poetry, dramatic art with the novel, narrative arts and music with dance, opera or film where separate art forms are cross-pollinated and conjoined.

The idea of UT PICTORA POESIS points to a unification theory of the arts and further to the underlying reality of how all human faculties combine in any aesthetic experience or everyday perception for that matter. In this way, UT PICTORA POESIS can be understood as a form of kinesthetic consciousness united to the highest forms of thought. As the philosopher Descartes said, this is a commonsense approach to appreciating how the five senses work in common under the aegis of the mind. When the common unity of the senses are placed under moral and ethical value systems one has achieved what the principle of UT PICTORA POESIS promoted, which was to make humankind-- kinder, more reflective, creative, practical and more aware and ultimately transformed. It is my hope that this blogsite can contribute to this tradition. In this spirit I want to encourage all bloggers to comment on the many topics already posted on this site. I will endeavor, with the support of my colleague Dr. Joe Ferguson and his commonsense approach to the psychology of perception-- to offer fresh and worthwhile updates on points of view on aesthetic themes on this site.

To this end, Joe and I have been working on a taxonomy of aesthetic expression in which well-known visual artists are analyzed using a range of sense and thought processes. Joe has used his background as a clinical psychologist to organize these perceptual forms under a numerical rating system. The numerical rating is in no way to be confused with an IQ test or indication of some superior status based on higher numbers on what we call the HFAP. The idea for a rating system is to simply make one more aware of the different thought and sense processes we have noted in diverse artists, and also to draw out the identifiable elements of any particular aesthetic experience. The HFAP is intended to serve an aesthetic purpose by promoting ways to appreciate what artists have made and the underlying levels of human awareness that were experienced by the artists in the making of their artworks. This approach is consistent with John Dewey's pragmatic and important study- "Art as Experience." Click here to download HFAP forms and to see a brief description of its rating scales.

In the most general sense, this blogsite, the HFAP, posting and comments are about appreciating appreciation as an aesthetic end in itself as part of an on-going contribution to the history of UT PICTORA POESIS.

Bill Havlicek, PhD

Havlicek-Ferguson Aesthetic Profile

The extent to which an artwork or any aesthetic object can be objectively characterized is both sensitive and controversial. It is commonly felt that deconstruction detracts something from aesthetic experience, although I do not believe that this is true. In fact, reductive analysis necessarily broadens the scope of any aesthetic experience and subtracts nothing from it.

Bill Havlicek and I have been engaged in a philosophical discussion around this question with a purported artificial intelligence calling itself Constructive Reductor. We have agreed that it is time to add a practical framework to our inquiry, and to open this project to all interested parties. For this purpose Bill and I have cooked up a simple instrument that we call the Havlicek-Ferguson Aesthetic Profile (HFAP), which allows a rater to characterize her aesthetic experience in terms of the elements listed below, each on a scale of 1 to 10. For each element I have suggested an artist or thinker who might score high on it. The substitution of thinkers for artists, and the selection of these examples generally, reflect my limited sophistication in art appreciation and criticism.

Click here for downloadable HPFA forms and a brief description of each scale.

Craft skill
Expressive depth
Neurobiological stimulus
Psychophysical stimulus
Archetypal stimulus
Intellectual appeal
Ideological appeal
Expression of an alternative world
Novelty
Creativity
Complexity
Social alliance
Economic value
Comfort or threat
Nostalgic association
Cultural Significance
Controversy

Of course, this list of aesthetic elements is by no means complete, nor could any claim of completeness ever be confirmed for any such list. Our principle project here will be to establish a library of aesthetic profiles for a wide variety of artworks and other aesthetic objects. Once we accumulate a sufficient number of profiles Bill and I will be able to analyze them along various lines in order to determine, once and for all, the true nature of art (wink).

My own principle interest is in the functional psychological analysis of each aesthetic factor in the HFAP, so I must await a substantial body of data before I can expect meaningful results. For students and scholars of art and aesthetics such as you, however, the analytic reflection that the HFAP requires for each aesthetic object should be fruitful in and of itself.

Please download either oneof the HFAP printed forms or the corresponding Excel spreadsheet version by clicking here. Please send copies of your completed forms, as email attachments, to AestheticProfile@gmail.com and also post them as comments on this thread (see the “comments” link, immediately below). Copies of email sent to AestheticProfile@gmail.com will be automatically forwarded to Bill, to me, and to the Constructive Reductor. Excel spreadsheets via email are preferable since they can be more easily accumulated and analyzed by electronic means.

Suggestions for additional profile elements are welcome and better examples than mine of artworks that epitomize each of the profile elements are particularly welcome. Finally, please note that there are three blank lines at the bottom of each HFAP where you can add aesthetic criteria that you find particularly important for each artwork that you profile, which will help Bill and I to refind the scale over time.

I look forward to your results and to seeing where this exercise leads!

Joe Ferguson :)

Aesthetics and the Artistic Enterprise Re-Deconstructed

This title announces a discussion on some thorny issues in the theory of consciousness and the part that aesthetic experience may play in understanding the nature of human consciousness. In order to effect a discussion alternate views of consciousness will be posed by an identity known as the Constructive Reductor. In addition to this mysterious being, Dr. Joe Ferguson a clinical psychologist will comment as well. This looks like a lively format for some interesting discussion. I will be arguing for the importance of aesthetic experience in all of this and I imagine that Dr. Joe will offer some fascinating clinical points of view while the Constructive Reductor will take some extreme positions, I assume this from what he has written in an earlier dialog in the comment section on this blog.

Aesthetic Awareness In Daily Life

John Dewey, one of America's best known thinkers on the subject of aesthetic experience made us aware of the fact that aesthetic appreciation is a natural component of human awareness. From the piece of toast that is over-toasted to the coffee that is no longer hot, we appreciate a sense of amplitude and rightness in our daily life. When the rightness of taste is deprived we feel let down.

Taken in an art historical sense, we feel the desire to see a work of art which has been lifted to a level of refined elaboration (some would say perfection) and when we do see such a work, we feel fulfilled in a profound way by being taken into a world view created by a human hand.

As one artist put it, "we see man's hand on the land" which translates into the notion that we feel comforted to see the evidence that humankind can shape the land in positive ways rather than destroy it senselessly. Put another way, perceiving a work of art that has been shaped with the creative, analytical and practical thought and feeling of an aesthetically aware artistic consciousness provides a level of satisfaction that is difficult to explain.

A specific example that I can offer of this profound satisfaction in aestheticized perfection was the viewing of Michelangelo's Captive figures in the Academy of Florence this past summer. Far from being polished to a normal sheen these marble figures tug and turn out of rubble and only part of the figures received polish. The very contrast between rough and smooth stone and the putty-like color of the native stone bathed in light-- all of this yields an aesthetically satisfying experience that makes crisp toast and hot coffee seem like fairly unimportant concerns.

Yet, the sense of satisfaction that we feel when culinary things turn out right is in it's own way a prelude to the symphonic potential of masterfully produced works of art by the hand of man on the land or put yet another way-- the land of man on the hand.

Bill

Modern and Contemporary group project

As an off-site exam, each member of the study group needs to log a response to this posting. You will each enter a three-part set of observations to the: Form, theme and contextual aspects of a painting by Paul Klee. You will first select the work, then as you cite your textbook and class handout materials, you will each offer your personal observations to the work of art.

Under form, you will first note the title of the work, date it was created, media, and actual size, then you will proceed to make observations: about how it's size impacts it's expressive character, why the media works to heighten the mood, like-wise, the use of line, use of color, contrast, atmospheric treatments, general composition, brushwork and unique iconographic elements and so on.

Under theme, you will offer ideas about the meanings of the work and how these meaning emerge from the formal language of the work. Here we are after [content] in a work of art and how content is given a unique visual structure by Klee's knowing use of the elements of form. You should cite the text handouts as they offer a unique look into Klee's thematic interests, put these citings into "quote marks" and note the page and source.

Finally, under context you will again need to briefly cite the text and handouts discussing Paul Klee's artistic world view. You will offer insights into his personality and how Klee's personal view of life/reality/metaphysics etc. informed his formal language and his thematic choices. To make this simple this is where [in a biographical manner] you talk about Klee's artistic influences, childhood, love of narrative, story-telling, music, opera etc. In other words in this final part you will all offer thoughts on how Klee became- Klee the painter/story-teller.

In commenting on this blogsite, please leave your full name-- so that I can easily identify each group member and read their contributions to this off-site group exam.

Regards and enjoy the process,

Bill

Keith's All American Presentation

Keith Maclelland shared his passion and process of making illustative works devoted to the theme of the cult of the American Cowboy. What is fascinating about Keith and his approach to his theme is the rich range of materials, photographs and digital images he employs in his quest to understand what in fact a Cowboy is.

From the Rhinestone Cowboy, to outlaws and gunners on the run, our views of cowboys are as many and as complicated as life in America is complex and contradictory. I welcome comments and discussion on Keith's carefully crafted presentation as it applies to the use of the art object as a means of exploring complex ideas and the images that have been created to express these ideas.

Above all, as we move into Module 2 with it's focus on what the artist is and can do in society, lets reflect on how Keith and Dave Glen function as artists. How would you compare and contrast these two different artists and their range of interests? Can you see some common ethical concerns the two share? What differences do you see between Dave Glen's documentary approach to photography and the more exploratory collage approach of Keith Maclelland? How would you describe the aesthetic characteristics of these two artists?

Bill

Some final thoughts from David Glen

Hello, Everyone!

I Hope Bill doesn't mind my taking poll position in the blog to thank you all again for your thoughtful input regarding aesthetics and the documentary photograph. I have some final thoughts that I'd like to share with you, and these touch on just two issues.

The first is to do with historical responsibility. That we all--whether photographer, painter, illustrator, sculptor, or writer--have an impact on history is without question. For our work will be seen by future generations, and what our artwork contains will be used by our descendants in the ongoing process of understanding existence itself. As I have said elsewhere in the blog, all of us are setting down the visual evidence of our time for those who will come after us. In doing so, it is imperative that we tell the truth about what we see around us every day, whether with camera or brush, and that we connect with the heart of the matter on both an intellectual and an emotional level. We owe that to posterity because if we fail to tell the truth, are disingenuous in our motives, or manipulate facts, we violate the trust not just of those alive today but of future generations to come.

I believe very strongly in this and that it applies to ALL facets of the human condition. It even applies to the ethics of those who would represent us in government; of doctors who have sworn to put the lives and well-being of their patients first; of scientists and engineers in whose integrity we rely every time we step on an airplane, or drive a car.

When we look back on history, we have to rely on the fact that the photographers who were present in say Vietnam, or those in Iraq, were people of integrity, and that their work was not some kind of sordid manipulation of the truth for personal gain.

As you go on in life and pursue your art in whichever medium you have chosen, please remember always your integrity, your dedication to honest representation. Show that you really do care about issues, and always remember that child of the future who will one day stand and stare at your work and be changed forever.

The second thought is to do with taking sides. This is an extension of "caring about issues", and the good news is that we need not always focus on the tragic; we can also reveal the uplifting. One of the most overused words in the media today is "objectivity". It may seem odd to many of you when I say that I don't believe in absolute objectivity. It's just not possible to be wholly objective in anything. The very fact that we choose a specific topic for our art is subjective, and in choosing a subject I care about, I am by definition taking a side.

The great Dorothea Lange once wrote: "...documentary photography records the social scene of our time. It mirrors the present and documents the future. Its focus is man in relation to mankind. It records his customs at work, at war, at play, or his round of activities through 24 hours of the day, the cycle of the seasons or the span of a life. It portrays his institutions--family, church, government, political organizations, social clubs, labor unions. It shows not merely their facades, but seeks to reveal the manner in which they function, absorb the life, hold the loyalty, and influence the behavior of human beings. It is concerned with methods of work and the dependence of workmen on each other and their employers. It is preeminently suited to building a record of change."

This is true of all art. In my opinion, you MUST take a stance on the things you care about. The only part of "objectivity" that should apply is your unfailing effort to tell your visual story with absolute integrity. Just one work of art contributed in this way will rekindle our trust in humanity, and will leave the world a better place. It is for me the purest aesthetic.

Good luck to all of you!

David

Thanks from David Glen

Hello Everyone...thanks so much for having me speak to you on Thursday. I thoroughly enjoyed your participation and feedback, and I will be responding to some of your comments over this weekend.

In the meantime, if any of you wish to discuss aesthetics as it relates to photography, or indeed any aspect related to our discussions, please feel free to post comments on the aesthetics blog site.

Many thanks again.

David Glen

Introduction to David Glen

Hello, Everyone!

I'm David Glen and will be visiting your aesthetics class on Thursday, February 21, and am looking forward to talking with you.

I thought I would give you a little background on who I am before we meet.

I am a documentary photographer and investigative journalist and was born in Kenya, East Africa, in 1953.

I attended a private boarding school in Northern Kenya, and thereafter attended Merchiston Castle School in Edinburgh, Scotland. At the age of fifteen, I went to work as an apprentice in the heavy engineering division of the Iron and Steel Corporation of South Africa (ISCOR) in Vanderbijlpark, near Johannesburg. I later moved to Cape Town where I found a love for mountaineering and photography.

I first visited the Himalayas in 1973 at the age of twenty, reaching the South Col at 26,000 feet on Mount Everest with just one Sherpa companion. I spent a further five weeks climbing in the vicinity of Cho Oyu and Pumori indulging my love for photography, and developed a long term affection for the region and its Sherpa people. I'm still a frequent visitor to the Himalayas.

I've also spent long periods shooting documentary photography in a variety of countries. I've lived in Saudi Arabia, and have travelled on assignments in Lebanon, Syria, Turkey, Yemen, the Gulf States, Egypt, India, Nepal, the remote Kingdom of Mustang (now part of Nepal), Burma, Thailand, Cambodia, Laos, Kenya, Tanzania, Uganda, Sudan, Costa Rica, the great southern ice caps of Chilean Patagonia, Russia, and more recently the Balkan states of Bosnia, Serbia, Croatia, Montenegro, Albania, Romania, and Hungary.

I now devote the majority of my documentary work to the poignant issue of child trafficking and the exploitation of children, increasing awareness of the insidious rise of this pandemic throughout the world. I am currently producing a photo journal entitled “Little People, Big Business” which looks critically at the plight of exploited and endangered children at the start of the 21st Century.

I hope to have an open dialogue with you about the aesthetic value in documentary photography citing three or four of my own icons in this field. Please feel free to e-mail me with any questions or otherwise post comments either before or after my presentation on Thursday.

I'll also post one or two images in advance to whet your appetite which we can discuss in class.

David Glen

David Glen's Visit Thursday

Dear Students:

Following David's presentation on Thursday, I want to urge you to respond on this blog with comments so that Dave and I can interact with you. You will find that Dave has posted a couple of photo images so that you can get a sense of the aesthetic direction he wants to move us in. You will discover that Dave's concern as a documentary photographer is to frame a cultural context and content of real lives into a rich aesthetically compelling image. One of the points that I believe we will learn from Dave's presentation on Thursday is that fine documentary photography is inevitably aesthetically potent. In fact, I would go so far so to say that the best photography is always a powerful combination of form, theme, and context, and this is true for all of the arts in general.

Please note that Dave has logged in and introduced himself.

Additionally, we have released log in requirements for you so that you may log in without a user name and password. This may have prevented some students from logging in before.

Bill

One's most valued object

Today in Aesthetics class the question was raised--why do we value art objects? The observation that practically speaking, works of art have little utilitarian use was brought to the table for discussion. The partner presentation by Ben Faubion and Bahador Shojapour explored in class some of the complex reasons we put an economic value on art objects that have little to offer in terms of doing something like transporting one or feeding one or protecting one. Ben and Bahador developed their discussion following the 6 so called "Iron Rules" of art value which appear in the essay in our text by Mark Sagoff, entitled: "On the aesthetic and economic Value of Art."

The class as a whole came to the conclusion that (as Sagoff claimed), the real value of the art is less in its intrinsic or practical qualities and value and more in the cultural and personal connections the object has to offer. The challenge was given to the entire class to imagine what objects they would save and why they would save them, if they could only grab three things out of a burning house after people and pets had been saved.

Then the next question to ask is why did you save those three objects? What personal and cultural value do they hold? What people and places do those objects connect with? This exercise is valuable in the way it helps one to understand why some objects can be priceless because the values they connect to are extremely important to one's personal history and even to one's identity. Now, extend this personal view to a country and one sees that art represents or embodies the cultural and personal heritage of a people.

I encourage all bloggers to share what objects have the most cultural and personal heritage and why they are important to you.

New essays

This coming week we will be examining several important essays in the history of aesthetic thought. In a general way these readings will center around John Dewey's idea that art and aesthetic experience grow directly out of everyday life experiences. Other essays presented next week in class will relate to Dewey's views so that we will look for instance into writings by Okakura on the Japanese tea house as a place for important aesthetic insight. Other reflections by Tanizaki on the subtle power of Asian architectural design will broaden insights from the tea house and apply them to all of nature.

Developing a broad aesthetic view is challenging for an art student because there is a tendency to explore specific kinds of expression and media in art school. This is a natural tendency to stay in an aesthetic comfort zone because it takes real effort and focus to master a media. But following the mastery, the challenge is to broaden again ones view and remain open to other technical and conceptual approaches which can be added to what the student has already gained in terms of aesthetic awareness and artistic mastery.

Broadly based aesthetic readings can help to keep the student open to more media options and artistic world views and that is for the best because it keeps one vital. And of course John Dewey would more than agree with the need for vital art.

Bill

Welcome to the 2008 LCAD Aesthetics Blog!

I'm looking forward to the student presentations tomorrow, February 7th. This will be the first time this semester that students in this class will be sharing with their fellow class members the insights that they are getting from reading the essays in their aesthetics text. Already, I have received e-mail messages from students who are working on their class presentations and the concern is to find a way of making the presentations interesting and representative of some solid study of the text.

There is always a tension in an art school, I've discovered, between students who want to make art objects and those who not only enjoy making art objects but are equally interested in reading and reflecting on the thoughts and opinions of other people who are making art objects. The in-class aesthetics presentations are the result of students who have found a way of balancing their desire to make art objects and also to appreciate what others have written about the making of art. The in-class presentations in this class are especially important because for some students it is the first time they are able to see the way in which the studio and the academic complement and overlap one another.

These are some of the reasons why I look forward to these first presentations in the morning. Please feel free to comment on your thoughts about this process. I will be adding entries to the LCAD Aesthetics Blog periodically, and I invite you to interact with me.