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By Ruth L. Saw (auth.)

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It is no accident that Clive Bell, who gives us our starting point, was deeply moved by the art of the Far and Middle East, Chinese pottery, and Persian rugs. "1 This is an extremely odd statement. " Any experience is personal in the sense that it is felt by a person. Clive Bell must be wishing to emphasize that in the case of aesthetic emotion one can know what it is only by one's own experience and not by hearsay. It is conceivable that we might understand what anger was by seeing other people in a rage even though we ourselves never felt angry, but there is no way to behave that would give other people a clue as to the nature of aesthetic experience except standing and gazing.

These are "works of art" in the ordinary sense of the term. 2. , musical scores, scripts of plays, novels, poems, etc. These fall into two categories. Musical scores and scripts give instruc- 4-2. AESTHETICS: AN INTRODUCTION tions for making an ephemeral object, a performance that must be repeated every time we wish to "have" the object. A relatively permanent object may be made, in accordance with the instructions, a recording that needs only mechanical skill to produce the performance. This, of course, will be one interpretation of the script or score by a given cast or set of instrumentalists.

9 Art is illusory precisely in the sense, and in no other, that perception itself is illusory. Just as we hear in one sense "clip-clop clip-clop" and in another sense hear a horse going by, so in one sense we see a colored shape either in nature or in art and in another sense see a real woman in a red dress or a represented woman in a red dress in a picture. It might be thought that conjurers are illusionists if anybody is, but even they do not really put us under an illusion. " It is difficult to know why they are discontented.

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