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By David E. Fenner

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Apollo represents arti­ factuality, individuation, labor, structure, and symmetry. Dionysus, on the other hand, represents the antithesis of Apollo. Dionysus represents the death of individuation and structure; he represents freedom of expression, revelry, excitement, spontaneity, liveliness, and perhaps even recklessness. It is through the reconciliation of these two energies, the one toward form, the other toward expression, that the best art is created. This reconciliation hap­ pens through the artist and his creative processes.

This supposedly shows that Distance is necessary to proper aesthetic viewing. However, the support for her point is lost when Langer admits that among all children around her, she was the only one who did not respond enthusiastically andjoyfully. There are many examples of artworks-bona fide artworks-that call for the inclusion of the spectator as participant in the aesthetic object. Coun­ terexamples, like the Peter Pan case, can be found aplenty. One example is Andrew Lloyd Webber's Cats. In the theatre, when the cats are not dancing or singing on stage, they roam around the audience, soliciting the audience to pet them and show them where the litter box is.

It presents a challenge and an opportunity for the student of philosophy-in our case aesthetics-to continue the work by contributing his or her own thoughts on the subject. PART I I Objects and vents CHAPTER 3 The Aesthetic Object An aesthetic object is any object or event that is the focus of aesthetic attention or the focus of an aesthetic experience. We might say further that aesthetic objects are typically objects like paintings, symphonies, plays, flowers, sun­ sets, and so forth. In principle, however, an aesthetic object can be any sensi­ ble ("able to be sensed") object in the world.

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