Creative Intelligence · John Dewey
IV
It is the purity of the value-forms imagined in philosophy that makes philosophy "normative." The arts, which it judges, have an identical origin and an indistinguishable intent, but they are properly its subordinates because they have not its purity. They, too, aim at remodeling discordant nature into harmony with human nature. They, too, are dominated by value-forms which shall satisfy as nearly as possible all interests, shall liberate and fulfil all repressions, and shall supply to our lives that unity, eternity, spirituality, and freedom which are the exfoliations of our central desire--the desire to live. But where philosophy has merely negated the concrete stuff of experience and defined its reality in terms of desire alone, the arts acknowledge the reality of immediate experience, accept it as it comes, eliminating, adding, molding, until the values desiderated become existent in the concrete immediacies of experience as such. Art does not substitute values for existence by changing their roles and calling one appearance and the other reality: art converts values into existences, it realizes values, injecting them into nature as far as may be. It creates truth and beauty and goodness. But it does not claim for its results greater reality than nature's. It claims for its results greater immediate harmony with human interests than nature.
The propitious reality of the philosopher is the unseen: the harmonious reality of the artist must be sensible. Philosophy says that apparent actual evil is merely apparent: art compels potential apparent good actually to appear. Philosophy realizes fundamental values transcendentally beyond experience: art realizes them within experience. Thus, men cherish no illusions concerning the contents of a novel, a picture, a play, a musical composition. They are taken for what they are, and are enjoyed for what they are. The shopgirl, organizing her life on the basis of eight dollars a week, wears flimsy for broadcloth and the tail feather of a rooster for an ostrich plume. She is as capable of wearing and enjoying broadcloth and ostrich plume as My Lady, whose income is eight dollars a minute. But she has not them, and in all likelihood, without a social revolution she never will have them. In the novels of Mr. Robert Chambers, however, or of Miss Jean Libbey, which she religiously reads in the street-car on her way to the shop; in the motion picture theater which she visits for ten cents after her supper of corned beef, cabbage, and cream puffs, she comes into possession of them forthwith, vicariously, and of all My Lady's proper perquisites--the Prince Charming, the motor-car, the Chinese pug, the flowers, and the costly bonbons. For the time being her life is liberated, new avenues of experience are actually opened to her, all sorts of unsatisfied desires are satisfied, all sorts of potentialities realized. All that she might have been and is not, she becomes through art, here and now, and _continuously with_ the drab workaday life which is her lot, and she becomes this without any compensatory derealization of that life, without any transcendentalism, without any loss of grip on the necessities of her experience: strengthened, on the contrary, and emboldened, to meet them as they are.
I might multiply examples: for every object of fine art has the same intention, and if adequate, accomplishes the same end--from the sculptures of Phidias and the dramas of Euripides, to the sky-scrapers of Sullivan and the dances of Pavlowa. But there is need only to consider the multitude of abstract descriptions of the aesthetic encounter. The artist's business is to create the other object in the encounter, and this object, in Miss Puffer's words, which are completely representative and typical, is such that "the organism is in a condition of repose and of the highest possible tone, functional efficiency, enhanced life. The personality is brought into a state of unity and self-completeness." The object, when apprehended, awakens the active functioning of the whole organism directly and harmoniously with itself, cuts it off from the surrounding world, shuts that world out for the time being, and forms a complete, harmonious, and self-sufficient system, peculiar and unique in the fact that there is no passing from this deed into further adaptation with the object. Struggle and aliency are at end, and whatever activity now goes on feels self-conserving, spontaneous, free. The need of readjustment has disappeared, and with it the feeling of strain, obstruction, and resistance, which is its sign. There is nothing but the object, and that is possessed completely, satisfying, and as if forever. Art, in a word, supplies an environment from which strife, foreignness, obstruction, and death are eliminated. It actualizes unity, spirituality, and eternity in the environment; it frees and enhances the life of the self. To the environment which art successfully creates, the mind finds itself completely and harmoniously adapted by the initial act of perception. In the world of art, value and existence are one.
Text from Project Gutenberg, public domain in the United States.