Aesthetic Judgment: An Insightful Analysis
The branch of philosophy that this falls under is aesthetics, specifically the critique of taste and judgments of the beautiful. This area of study is not my area of expertise, nor is it something I have extensively researched. However, the example presented is a classic argumentum ad absurdum, an extreme way to pose the question of whether or not an objective aesthetic standard is ever possible.
Objective Standards of Aesthetics
Say, imagine two sighted individuals, like you and I, debating the merits of a classic Renault and a new Mercedes. One of us could easily assert our conviction in our aesthetic judgment by saying:
These are both beautiful cars, but the new Mercedes is undoubtedly the superior option. It's more appealing from an aesthetic standpoint, allowing me to appreciate its sleek design and advanced technology.
Even this assertion, however, could be considered to be begging the question. To what extent do any of our perceptions reflect the truth? There are many instances where our senses deceive us. Photographs, for example, might not always represent reality accurately. Sound can sometimes mislead us, even trained musicians can be misled by the tritone paradox, and touch can be deceptive, as demonstrated by the paradoxical warmth effect.
Furthermore, our understanding of the world around us is not absolute. Modern physics teaches us that atoms are mostly empty space, and our assumption that the world is made of solid objects is questionable. Philosopher George Berkeley famously questioned the nature of matter, inquiring why we should believe in the existence of external objects given our perceptions alone.
Religious and Cultural Influences on Aesthetics
Religion has long been a significant influence on aesthetics and morals. Throughout much of human history, the idea that a supreme being governs the universe has led to intricate debates about the relationship between beauty and morality. This can be seen in the medieval era, where the perception of musical intervals, such as the major chord, was linked to theological beliefs.
Despite the subjective nature of aesthetics, there is evidence to suggest that certain proportions are universally perceived as more pleasing. For instance, the golden ratio (1.618:1) is considered aesthetically pleasing to the eye, while the perfect fifth (3:2) is pleasing to the ear. These ratios also play a role in human attraction, where a good skin tone and lustrous hair seem to be evolutionary markers indicating a potential mate's health.
The Blind Man’s Perspective
Imagine a sighted person suddenly regaining their sight. Their initial perception would be vastly different from ours, as their brain would need to learn how to process these new visual inputs. A blind man, if he could suddenly see, might have a whole different framework to base his aesthetic reasoning upon, as his previous experiences would be different. A philosophically inclined cognitive psychiatrist or neurologist might find this fascinating to study.
People who have regained sight do not see everything all at once. Their brain has to learn how to process these signals and how these new inputs align with their previous experience. For example, seeing an ice cube for the first time after a lifetime of knowing how it felt would be a significant adjustment for a brain to make.
Now, let's consider some possible (and equally unlikely) outcomes of the thought experiment:
The blind man, let's call him Fred, might find the bulkier curves of the Renault comforting and the angularity of the Mercedes overly aggressive and disorienting, given his previous tactile experiences.
Fred, as a chef, might find the angularity and metallic gleam of the Mercedes more familiar and attractive due to strong associations with his deep kinaesthetic connection to his chef's knife.
Alternatively, Fred, as a Catholic, might find both cars phallic and inoffensive, leading him to continue his lifelong practice of thrice-daily self-flagellation on a bicycle.
These scenarios showcase the complex interplay between prior experiences, cultural background, and personal preferences in shaping aesthetic judgments.