Congruent Semblance

Determinations belonging
Recognizable difference
Inner agreement

The simple demand for thoroughgoing intelligibility can be aesthetically circumvented. In such a movement, content is mediated by form making possible the essence of sensible things.

“Nothing exists of which it cannot be asked, what is the cause (or reason), why it exists.” – Baruch Spinoza

Determining Itself

Continuous interrelation
Conscious awareness
Essential activity

While the totality of all reality encompasses a multiplicity of universals, the various forms of experience constitute a continuous and connected series of mental phases. Thus, the life of the mind is a whole and a single continuous movement.

“What is found in this flux of thoroughgoing change is merely difference as universal difference, or difference into which the various opposites have been resolved.” – Georg Wilhelm Friedrich Hegel

Different Circumstances

Impenetrable notion
Appearances change
Momentary portrayals

For Kant, the thing-in-itself is linked to the unknowable noumenon, an object or entity that exists beyond sensation and perception. Nevertheless, Maritain thinks that in our tangible aesthetic subsistence, we deal with essences embodied in concrete reality. This corresponds to Aristotle’s metaphysics as the science of ‘being qua being.’ His categories of being not only describe the way we think about what is, but also describe the way things are. Thus, the categories of being are both mental constructs of thought and, most significantly, descriptive of realty. In this way thinking gives access to actuality, and you never find forms by themselves, as separate entities. You only find form composite with matter, as the primary kind of being is found in hylomorphic particulars.

“By form I mean the essence or very nature of the thing.” – Aristotle

Formal Cause

Class arrangement
Dynamic explanation
Essence principle

All individual things consist of matter and form. Matter is the principle of potentiality, or the ability to become multiple identifiable things. Form is the principle of determination and actuality, which accounts for the thing being the kind of thing it is. Accordingly, form is the functional organization that an individual shares with other members of its class.

“Cause, therefore, is after one manner said to be that, from which, being inherent, something is produced.” – Aristotle

Unemployed Reserve

Subjective resonance
Virtual vigilance
Vital tension

A mental projection requires self-awareness. Nevertheless, subjectivity is compelled by a world distinct from itself. This seems to resonate with the core concept of connaturality.

“The ‘I’ is thus an active universal that essentially involves particularity and individuality, a concrete universal.” – Michael Inwood

Affective Virtues

Controlling category
Intervening link
Value of the world

Beauty continuously escapes grasp, ultimately unattainable except as reflected in a mirror. Poetry relates in equal terms to beauty, without subordination and without definite attainable knowledge destinations. In this dance, poetry tends toward beauty not as an object to be known or to be made, but as support in an integrated view of the affective, appreciative dimensions of existence.

“It only wants to manifest the-inwardness of the artist together with the things which resound in it–and if poetic intuition is really expressed it will inevitably be expressed in beauty, even without meaning it, for any real expression of poetic intuition derives from it integrity, consonance, and radiance.” – Jacques Maritain

Beyond Information Given

Arriving stimuli
Centrically symmetrical
Constantly transcends

Repeatedly in the long history of philosophical speculation, sensory experience is defined as a type of lower-order cognition. This view stipulates that although sensation is occasionally unambiguous, such sensations frequently deceive, with all elements amalgamated into an indivisible whole. Meanwhile, phenomenal consciousness somehow consists not in immediate sensations, but rather in a higher-level sensing of those sensations.

“The habit of separating the intuitive from the abstractive functions, as they were called in the Middle Ages, goes far back in our tradition.” – Rudolf Arnheim

Dynamically Relate

Discourse points toward
An interpretative turn
Inscribed articulation

As aesthetic form without reason, Kant promoted that perceptions of beauty must be free of concepts or any logical ideas. Along with this, he decided experiencing beauty is a type of mental action indifferent to desires and emotions. However, is it even possible totally to separate such thoughts from any aesthetic experience?

“For where anyone is conscious that his delight in an object is with him independent of interest, it is inevitable that he should look on the object as one containing a ground of delight for all.” – Immanuel Kant

Analogous Nature

Mysterious identity
Sources of being
Formally determining

Aesthetic beauty is a particular determination of transcendental beauty, confronting not simply the intellect, but the intellect and sensation acting together in unity. Because beauty must have been previously conceived and nurtured in a human intellect to exist in an artifact, artistic beauty presents its transcendental character saliently.

“Art struggles to surmount the distinction between aesthetic beauty and transcendental beauty and to absorb aesthetic beauty in transcendental beauty.” – Jacques Maritain


Visible domain
Reference points
Question of recentring

Art finds potential in contingencies. On an extended walk for the sake of creative discovery, artistic subjectivity and external realities nebulously enliven in a single incitement.

“In the scopic relation, the object on which depends the phantasy from which the subject is suspended in an essential vacillation is the gaze.” – Jacques Lacan