The Role of A Priori Knowledge in the Perception of Art
The term “Tabula Rasa” was coined by John Locke in his book “An Essay Concerning Human Understanding”. This term that means “clean slate”, is a condition that is attributed to the state of the brain, before any memories or knowledge is imprinted in it by the senses[1]. The five senses of touch, sound, smell, taste and sight form the basis of the human perception of the world. Thus, perception is the foundation upon which the world is built. Our brain processes the world around us into image data and we experience the world based on these images. These images that are generated are based on memories and the associations that have been formed, is what is known as “A Priori knowledge”. A Priori knowledge is critical to the formation of new imagery and by extension, to perception. Therefore, as years pass, nothing in the physical world is entirely new. It is merely a form of extended perception[2]. All our senses play their part in generation of narratives by the brain and influence our perception. A simple example would be the smell of cheese wafting around, that can bring back memories of the pizza that was enjoyed the previous night. Whereas the same smell can remind some of their intolerance to lactose. By extension, this is the reason for each person perceiving the same object differently.
Any amount of data, from any source, can have a huge impact on the process of perception. Not surprisingly, art is also perceived in the same manner. Art is an extension of mankind and they are bound to one another for their purpose and existence.[3] The data that is stored in an artist’s brain in the form of memories, is what consciously or subconsciously, influences his artmaking process. Thus, the “essence” of an artwork lies in the artists’ role in it.
It can be argued that that is not the case when artists play a minimal role in the creation of their own works, a well-known example being Jackson Pollock’s “Drip Paintings.” Furthermore, it can be said that since the intervention of the creator is negligible, the influence of the artist is highly reduced, thereby questioning the presence of essence. Therefore, in cases where the result of the work itself may not have been predictable, the interpretation of the produced piece by the artist, then becomes the essence. Pollock’s paintings, along with all the works which fall under the Abstract Expressionism movement, strive to bring art from the unconscious mind, “to directly place their inner impulses onto the canvas.”[4] In this case, these impulses form the essence of the work.
However, once an artwork is created and exhibited to an audience, it loses its core qualities as it is then perceived based on the personal experiences of the audience rather than what the artist wishes to showcase, whether consciously or unconsciously. The artwork, as anything else, exists only because it can be perceived. But since it is perceived differently by each person, the essence of the work is lost. It becomes all the more difficult to understand this fundamental issue with the perception of art because the notion of what constitutes the essence of an artwork is an abstract one.
Every work of art has its unique qualities, which are lost each time someone views it. But it can be argued that if the idea for an artwork never leaves the mind, it retains all its unique qualities. Thus, the question that arises is that if the audience can never be influenced, why should there be a physical artwork? A counter argument could be made that without a representation of it in the world, an idea just remains a mere fragment of the imagination. But since the representation dilutes the idea, can the idea be presented as it is? Does an artwork need a form? Can the idea be planted into the minds of the viewers with minimum loss in its defining qualities? This is the concept behind the artwork that this artist defines as a research-based experimental artwork. As mentioned previously, the world is experienced using the senses and therefore, influencing the senses will cause the brain to create an image. The artist believes that this image that is created, is the artwork in itself.
The audience enter a space with the expectation that the work is outside of them, without realising that no work of art can be present in external environments. Art, like the world, only exists in the mind. This artist will attempt to guide the senses with stimuli. The presence of the various stimuli, in the form of sounds, smells and sights will be the only form of intervention by the artist. After the stimuli end, the audience will be given an opportunity to delve into their mental images and to understand their experience with the use of white noise. This will create a situation of sensory deprivation, which will force the brain to become more aware of things that are generally overlooked. This awareness will help in their reflection of the experience, thereby completing it.
The audience can choose if they want to perceive the physical objects that were used for the stimulation to be the artwork or if they prefer to think of their sensory experience or mental images as the artwork. In conclusion, nothing in the physical world can be perceived the same way by two people and art is not an exception. The best advantage that can be taken as an artist, is to use this to create truly inimitable works of art.
Text References:
1. “Abstract Expressionism”; Tate.org; Accessed on 19 Feb. 2019; https://www.tate.org.uk/art/art-terms/a/abstract-expressionism
2. Costandi Mo; “Memory contaminates Perception”; The Guardian; Published on 17 August 2011; Accessed on 14 Feb. 19; https://www.theguardian.com/science/neurophilosophy/2011/aug/17/memory-contaminates-perception
3. Duignan Brian; “Tabula Rasa”; Encyclopaedia Britannica; Published on 16 November 2016; Accessed on 17 Feb. 19; https://www.britannica.com/topic/tabula-rasa
4. Wolff F. Theodore; “Art doesn't just exist - its essence is bound to man”; The Christian Science Monitor; Published on 10 March 1982; Accessed on 16 Feb. 19; https://www.csmonitor.com/1982/0310/031000.html
5. Duignan Brian; “Tabula Rasa”; Encyclopaedia Britannica; Published on 16 November 2016; Accessed on 17 Feb. 19; https://www.britannica.com/topic/tabula-rasa
6. Costandi Mo; “Memory contaminates Perception”; The Guardian; Published on 17 August 2011; Accessed on 14 Feb. 19; https://www.theguardian.com/science/neurophilosophy/2011/aug/17/memory-contaminates-perception
7. Wolff F. Theodore; “Art doesn't just exist - its essence is bound to man”; The Christian Science Monitor; Published on 10 March 1982; Accessed on 16 Feb. 19; https://www.csmonitor.com/1982/0310/031000.html “Abstract Expressionism”; Tate.org; Accessed on 19 Feb. 2019; https://www.tate.org.uk/art/art-terms/a/abstract-expressionism
8. Pollock, Jackson; Yellow Islands – 1952; “Abstract Expressionism”; Tate.org; Accessed on 19 Feb. 2019; https://www.tate.org.uk/art/art-terms/a/abstract-expressionism