Category — Aesthetic

The Aesthetic aspect
This seems to be the central aspect when discussing the arts, although this is not to say it dominates. It is mutually supports and is supported by the other aspects. I say this because art is often reduced to this aspect, and as such it takes on a very limited notion, wholly removed from everyday life. One of the consequences of this is the idea that “Art” exists in museums and music is something that is done by “professionals” in concert halls. When taken in context of every other aspect, art will be understood more broadly as an everyday event and entails all created objects, something in which we all participate. The mundane can be artistic as well as the “high-end”. 

1. It is related to beauty, but is not identified with it.
2. Dooyeweerd suggests that the kernel notion is harmony.
3. Aesthetics entails rhythm, contrast, progression, growth, and proportion.
4. Coherence or a unifying central theme is often at the heart of a memorable object or piece of music.
5. Seerveld suggests allusivity and suggestiveness, or nuance and allusion.
6. Broken expectations and surprise.
7. Play and fun, which might include improvisation and spontaneity. Jazz provides numerous examples of this. 
8. Tonal fluctuations in both color and sound. These are culturally identifiable across the planet (phrygian, mixolydian, dorian, etc). Each musical mode is dominant in various social settings- Middle East, Japan, the West.

Basden writes: “Art and music is not always qualified by the aesthetic. Much art and music is, but in some logic or mathematics is the driving force, e.g, perhaps twelve tone music”. In this regard, the early work of Brian Eno comes to mind. Peter Gabriel as well. Tones and their inner relationships are the basic musical structure in their early work. 

The Economic aspect 
1. The kernel notion is a frugal use of resources.
2. The poor are not outside the boundaries of artistic expression and very often lay the groundwork for culturally formative works. There are many examples of this, but two that come to mind immediately are Appalachian and Jamaican musicians. I recently read a book called “Dub” about the history of Jamaican studio-based creation. King Tubby was one of the main characters. He was an electrician by trade, but did recording and created “cuts” of songs. He is responsible for the creation of spring reverb- an effect so common we take it for granted in modern music.
3. Leisure (via riches or through a sponsor) might provide more time and energy directed towards artistic production, but does not necessarily need to be present. Nor does it always result in the best work. Bob Marley worked as a welder while writing music; Elvin Jones worked in a tire plant while playing the drums in the evenings.
4. Materials may be limited; time may be limited. But both may be fully exploited by a disciplined and highly creative person. Lee Scratch Perry comes to mind. His early work was done with a two track cassette recorder. He lived in extreme poverty, but he utilized what he had and created music that is still admired for its depth and creative power.
5. Investment in materials and instruments or equipment is a legitimate long-term investment of income. Are the most expensive, high-end instruments necessary? No. Nowadays what is considered a low-level instrument is of the kind of quality that was considered high-level twenty years ago. 

As an aside: a couple of years ago I attended a “worship conference” near Seattle, WA. The general line of thought was “using the best, most expensive, custom made instruments brings glory to God”. This is, of course, a deeply wrong-hearted notion. Blind Willie Johnson is more moving than twenty of those “worship” musicians put together. He sometimes played with one string. Some of the more profound and moving music has been created by artists who used broken down, old or cheap instruments. Jamaican artists once again come to mind. This is not to deny the place of craftsmanship, and quality instrumentation. But, in the case of the so-called “worship” musicians it is a confusion of ownership with artistic expression. 

6. Leverage newer, inexpensive technologies for the sake of the poor, and lead people out of poverty via creative formation. That is a calling in and of itself. Any one want to start a non-profit?
7. Investment in the arts is a long-term commitment that may or may not have any monetary returns. Returns may take many other forms. 

Next… the Social and Symbolic aspects. 

I Before continuing the discussion, I want to point to a current post at Between Two Worlds. Seems the question of aesthetics is on a number of peoples’ minds, including Justin Taylor’s. By the way, his blog is like a survey of current evangelical interests; very helpful stuff. If you want to know the latest trends and evangelical fads, he will point you to them. 

In regards to a philosophy of aesthetics, Mr. Taylor links to a ten year old essay by a Dr. Spiegel. It is an introduction to the subject, and it has a number of good things in it, but it is based in a deeply troublesome assumption: aesthetics is the study of beauty. This is a classic hold-over from the Hellenic notion of reality. Dr. Spiegel simply imports it into a Christian framework, and goes from there. This is misleading, as it is a dogmatic and limiting notion that does not open up the subject to all the other aspects of experience. Beauty is an element of aesthetics, but it is not the entire proposition. Again and again throughout his essay he identifies aesthetics with beauty. Like I said, this is a Hellenic notion, left over from the religion of Form. Dr. Speigel, in emphasizing this one element over against all others sets up a false antithesis. If it is not beautiful, it is not aesthetic; if it is not aesthetic it is not art. There are many implicit problems with this, and they all unfold from a wrong ground motive. A well intentioned essay, but one that is sure to trap Christians in the same old religious antithesis. 

Also, aesthetics is just one aspect of our experience. It cannot summarize any experience of a work of art, or any experience at all. When I listen to music, I am not experiencing it only within the aesthetic aspect, I am experiencing it as a whole person. This includes all the other aspects of my experience as well. The aesthetic aspect might be the kernel of focus, but it can never sum up the totality of my interaction with art.