The Need to Connect

It is natural for humans to project their experiences and knowledge upon an object. This determines the definition of that object, for the viewer. This concept is discussed both by Vischer and Mundt.

In Three Aspects of German Aesthetic Theory, Mudnt approaches the topic by specifically labeling the three theories of viewing art, as idealist, formalist and sensualist.

In Empathy, Form, and Space- Problems in German Aesthetics, Vischer expounds on these theories with a more practical approach.

The preface explains that the work “was prompted by the discussion of pure form” (pg. 89). As I read the pages of this text it became evident the concept of pure form has many dimensions, steering towards non existence. Artists and those who are not, view forms, projecting their experiences, imagination. Vischner states, we “involuntarily read our emotions into them”, which is referred to as empathy. “It finds in everything a counterpart to itself and a symbol of its humanity.”(pg. 92)

The desire to connect or relate to an object is instinctive, in order for it to be good, understood or identified. One can find this in art, politics and music. However, Vischer explains the “effect of light and color, the contour, and the pure line cannot be described by empathy.” (pg. 92)

The discussion of sensory versus kinesthetic stimuli delves into the mental and physical stimulus upon viewing an object. Vischer also discusses the participation of touch in seeing an object, as well as distance. He illustrates with an example of a blind person. I reflect on my first memorable experience of visiting a museum and the strong desire to brush my fingers across a sculpture, which seemed within my reach. The desire to touch persists in my experiences of viewing art and my desire to connect.