The Study Of Arnold Berleant's Engagement Aesthetics

Arnold Berleant, as one of the most important representatives of western environmental Aesthetics, is the emeritus professor of Long Island University of the United States and former chairman of international aesthetics association. Arnold Berleant is very accomplished both in philosophy and music, including writing six books and hundreds of academic articles. The most well-known of Berleant is aesthetic engagement theory. He was influenced by Merleau-Ponty, Dufrenne and Dewey in early days. And then he developed his own theory of aesthetic engagement. That is to say, the theory of aesthetic field is fulcrum of study of aesthetic engagement.The thesis contains six parts of all. The preface mainly states the aim of study, current situation of research, research ideas and framework of thesis. Berleant is willing to set up a sort of inclusive theory all the time which is not only capable to explain the past art history, but also could reflect the evolution of art. Therefore, he is trying his best through establishing aesthetic field theory from Chapter 1. Berleant develops the aesthetic field theory by using the concept of electric field, which is a dynamic loop- means the energy flows out, yet returns in way of compensation. The aesthetic field suggests correspondingly that the energy in aesthetic activity is circular and overall balance. In this field, there are four critical factors:art object, perceiver, artist and performer. The relation of these factors is interactive, interdependent and they activate each other. The art object is not dominant any longer, but as the constitutive factor in aesthetic field as other three factors.Chapter 2 provides a new perspective to study the aesthetic engagement on the basis of aesthetic field. There are three significant categories in aesthetic engagement:the unity of experience, somatic and continuity. In Berleant's view, it is not reasonable to separate the sensual perception from the advance sensuous perception and access to aesthetic experience only by hearing and seeing. It is time to advocate a kind of synaesthesia:besides hearing and seeing, all the sensual perception including the sense of touch, taste, smell and so on should participate in the aesthetic activity. Only do this way, can we perceive art in the unity of experience totally. In addition, Berleant also pays close attention to the concept of body, which is not a physical meaning, but involves historical, social and cultural element. The most considerable factor is continuity. Be affected by Dewey, Berleant extends the continuity to various facets. Continuity has already become metaphysics, because it must carry through every link of aesthetic activity, even all artistic area too.Chapter 3 fixes the unique status of aesthetic engagement in western environmental aesthetics. Firstly, Berleant encourages an integral environmental view which is a natural process that people live, work and experience. Secondly, Berleant tends to set up continuity between art and ordinary life:they are similar in appreciating aspect at least. Thirdly, since aesthetic engagement emphasizes on the experience of perception, thus it's aesthetics of experience essentially. Apart from this, aesthetic engagement requires full participation in different realm; therefore it can be called a kind of universal aesthetics.The academic contribution of aesthetic engagement cannot be ignored. In chapter 4, I had generalized the value of aesthetic engagement in three situations: western modern aesthetics, environmental aesthetics and Chinese aesthetics. Without object-oriented, aesthetic engagement undoubtedly is a new attempt in aesthetic participation, integral environment view, the unity of experience and continuity. And more important, aesthetic engagement has inspired the Chinese aesthetics in sense of place, participation so on and so forth. It is certain that aesthetic engagement theory is not the end of aesthetics history. As Allen Carlson said, aesthetic engagement sometimes couldn't avoid subjective trend and it doesn't give a clear criterion of aesthetic. However, in general, the aesthetic engagement theory is profound and systemic; no wonder it is classified to an influential aesthetic theory.