By James G. Nourse
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Extra resources for The Simple Solutions to Cubic Puzzles
Sample text
Savoring and the A e sthetic Re sponse Let us consider in some detail aesthetic pleasures, or positive feelings people have in the presence of naturally occurring or creatively formed beauty. Philosophers call these experiences aesthetic reactions. Analysts of aesthetics have defined the aesthetic response in many different ways. The definition we prefer is: to receive a communication of feelings through the arrangement of visual, auditory, and other sensory modes or through the arrangement of words and ideas in written or oral forms.
But how about the reverse question? When people are savoring, can we automatically say that they are having an aesthetic experience? We say "no" in answer to that question. Savoring does not mean that a person is necessarily mindful of the arrangement of stimulation. In contrast to aesthetic responses - such as enjoying a painting or being moved by a play-when savoring, the form of our associations is not critical. When people rather randomly consider the beauties of the landscape they are viewing, they may be savoring but not having an aesthetic CONCEPTS OF SAVORING: AN INTRODUCTION 21 experience.
We return to the concept of flow in chapter 4, when we discuss absorption as a type of savoring strategy. PREVIEW OF UPCOMING CHAPTERS In this chapter, we staked out what the concept of savoring is generally about and we examined a number of other concepts to which savoring is related. We noted how savoring is both alike and different from these other concepts. In the next four chapters, we get to the heart of the psychology of savoring. We begin by 24 CHAPTER 1 presenting the critical issues that a model of savoring must confront (chapter 2), and in so doing, we highlight several reports of savoring experiences that illustrate these issues.
