Chapter 1

Introduction

The thesis aims to determine whether Aesthetic Realism is a viable and meaningful
philosophy that could serve as a turning point towards addressing the problem of indifferences
and dualities. It also desires to pick a topic that would be socially significant since what we aim
for is to understand common social problems that we are still currently facing. In connection to
this, the study is able to recognize works of art, music in particular, as a sufficient medium for
the philosophy to expound its values and principles essentially in analyzing selected songs
produced by the Filipino band famously known as Asin.
This chapter explains the purpose and significance of the thesis to society and to
literature, the philosophy that is being used. It is also the part of the thesis that presents
expressions and terms that are commonly used by philosophers of art and aesthetics. For this
portion, I shall explain what makes Aesthetic Realism important to discuss especially when it
concerns the field of art and aesthetics. The core principles of the philosophy will also be
scrutinized and questions as to why the philosophy was chosen amongst several theories and
ideas will be discussed.
We may find various theories and ideas to apply on the issue of dichotomies. However, I
wish to make use of the philosophy of Aesthetic Realism, as it was presumed to be a meaningful
platform for addressing certain social problems. This philosophy aims to prove that indifferences
and oppositions can be laid into one coherent convergence of beliefs and ideas.
Aesthetic Realism advocates that having contempt is the greatest sin a person can have,
so one must liberate himself from being a victim of it. The art of music will be examined because

it will serve as the mode for the philosophy to assert its values and principles. The philosophy
should take a form that is closest to our reality, and I believe that it can be found in art; thus,
generating a thought that any successful work of art can be a source of beauty and fairness which
the philosophy is trying to accomplish.
The thesis would tackle the issue of prejudice and discrimination in view of the fact that
this particular outlook in life causes destructive differences that would eventually results into an
unwanted ideology which is racism. In order for us to grasp its complete notion, it is important to
tackle foremost its cause and effect. We should be able to identify what is the common source of
racism and where does it lead to. Humans are endowed with rationality more than any other
being in this world. They can freely think and believe what they judge as necessary all for them
to survive and adapt. It is the reason why there were several conflicts involving two differing
identities, and a good example for that is Racism. It is a struggle of two groups, wherein one
looks upon the other as inferior. Racism, according to Anup Shah, is the belief that characteristics
and abilities can be credited to people on the simple basis of their race, and that some racial
groups are superior to others (2010). The discussion would also bring us to local problem such as
the struggle of our Muslim brothers on their plight against prejudice and discrimination on the
basis of religion and principles.
In the second chapter, the thesis would cite an example and attempt to observe the
conflict between two factions especially relating to the struggle of Muslims in Mindanao against
the government. The paper would also try to prove that Aesthetic Realism can be a source of
reconciliation between the two identities. It is not to say that the philosophy is the ultimate
answer to end the struggle, instead, it seeks to enlighten its subjects to refrain from nonsense
oppositions and come up with compromise or settlement for the betterment of the country.

At this point, the people involved in conflicts can look at the possibility that Aesthetic
Realism might be a meaningful instrument for them to use on their constituents and lead to
gradual decrease of the number of hostilities especially pertains to the struggle that involves
warfare.
The third chapter will be the methodology used in the analysis. It will bring us to the
discussion on the use of music mainly in the form of a song to expound the principles of
Aesthetic Realism. The fourth chapter is the application or analysis of songs which is taken from
the works of Asin, which are presented as ideal examples. In order to do that, we shall first
discuss the four common classical theories of art such as: taste, beauty, emotion, and cognition.
By this, the thesis wishes to lessen the ambiguity why the art was chosen to be the representative
of Aesthetic Realism to manifest. The chapters will also include interpretations of songs created
and performed by the artists. With the presentation of these examples of songs, it will aid our
understanding why the aforementioned philosophy is attainable and achievable.
A work of art can be of any various forms. It can be heard as a song, seen as a statue or
painting, or viewed as a film. The impact of an art can be derived depending upon the reactions
of its audiences. A good art has to send a message. It seeks to reconcile destructive differences.
Therefore, we seek a great work of art that has a remarkable impact on the society especially
against prejudice and discrimination.
The fifth chapter is an essential part of the thesis for it discusses criticisms and possible
objections to Aesthetic realism as deemed by the thesis. It tackles the complications of aesthetic
experiences as presumed to vary from person to person which would eventually lead to the idea
that the said philosophy is only a matter of subjectivism. Moreover, this chapter also clarifies that

aesthetic judgment should not be mistaken for moral judgment. For it appears that the thesis opt
not to separate both concepts.
The last chapter will be the generalization or conclusion of the thesis. For this part, the
thesis recommends that attaining an optimistic view of the world is what we should aim for. The
philosophy of Aesthetic Realism does not claim that this kind of hopeful view towards the world
is the ultimate answer to problems; rather, it just presents an alternative choice in addressing
binary opposites particularly societal troubles just like racism.

Aesthetic Realism in the Context of Asins Music

by:
Jan Erwin F. Bulang

Abstract: The purpose of this thesis is to examine the philosophy of Aesthetic Realism as a
meaningful vessel for addressing dichotomous communal problem like prejudice and
discrimination. It also seeks to provide an alternative approach, an attitude, or a viewpoint
towards resolving issues like racism that is basically a pressing problem all throughout the world.
As for the method of scrutinizing, this thesis aims to tackle the cultural identity of aesthetics as
well as classic theories of art such as: taste, beauty, emotion, and cognition in order to
appreciate the essence of an artwork. The form of art that will be examined will be coming from
successful and meaningful songs taken from the hits of a Filipino folk rock band Asin. It serves
to prove that music as an art could be a significant vessel for the Aesthetic Realism to elucidate
its philosophy. Moreover, a fresh interpretation Aesthetics and the Art, should enrich its literature
In conclusion, Aesthetic Realism ought to provide us with an outlook towards life; a certain
philosophy that deals with Aesthetics and the Art, and undertakes to address societal issues that
made us opposites of what we should not have become.

Bibliography:

Siegel, Eli (1981). Self and World: An Explanation of Aesthetic Realism. Published
by: New York: Definition Press.
Siegel, Eli (1968) James and the Children: A consideration of Henry James Turn of
the Screw.
Shah, Anup (2010) Racism. Last updated Sunday. (accessed on March 1, 2015)
http://www.globalissues.org/article/165/racism
Ruckstuhl, F. Wellington (1917) Idealism and Realism in Art. The Art World, Vol. 1,
No. 4 (Jan., 1917), pp. 252-256.
Cox, Edward G. (1919) Realism Pure and Applied. The Sewanee Review,Vol. 27, No.
4 (Oct., 1919), pp. 438-459 published by: The Johns Hopkins University Press
Marshall, Henry Rutgers (1905) The Relation of Aesthetics to Psychology and
Philosophy. The Philosophical Review, Vol. 14, No. 1 (Jan., 1905), pp. 1-20 published
by: Duke University Press
Official Gazette of the Philippines: http://www.gov.ph/2014/09/10/document-thedraft-bangsamoro-basic-law/ accessed on ( March 28, 2015)
Floistad, Guttorm (2007) Volume 9: Aesthetics and Philosophy of Art. Published by:
Springer
Raunig, Gerald & Ray, Gene. Art and Contemporary Critical Practice: Reinventing
Insitutional Critique; published by: mayflybooks
Vials, Chris (2009) Realism for the Masses: Aesthetics, Popular Front Pluralism, and
U.S. Culture, 1935-1947. University Press of Mississsippi/ Jackson
Edie, James M. (1964) The Primacy of Perception: And other Essays on
Phenomenological Psychology, the Philosophy of Art, History and Politics. Published
by: Northwestern University Press
Stecker, Robert (2010) 2nd edition Aesthetics and The Philosophy of Art: an
introduction. Published by: Rowman & Littlefield Publishers, Inc.
Chin, Jean Lau (2004) Volume 1: The Psychology of Prejudice and Discrimination:
Racism in America. Published by: Praeger Publishers
Locke, John (b. 1632, d. 1704). Essay: Book II.
http://plato.stanford.edu/entries/locke/ accessed on (March 29, 2015)
Amaladass, Anand (1996). Practice and Theology of Interreligious Dialogue. A
Critical Study of the Indian Christian Attempts since Vatican II. Published by:
Journal of Hindu-Christian Studies
D.W. Gotshalk, Art and the Social Order (NY: Dover Publications, 1962) p. 99.
Caroll, Noel. Philosophy of Art: a contemporary introduction, Routledge.

Graham, G. (n.d.). Philosophy of the Arts (3rd ed., pp. 1-52). Routledge.

Chapter 2
Aesthetic Realism and Racism

Aesthetic realism, in its strict sense, is an inclusive point of view that does not only
involve the discussion about Aesthetics and Art but also the concept of binary oppositions. In
Sociology, linguistics, and anthropology, binary opposition is a key concept that asserts human
state of affairs can only be understood in relation to one another and how they mean within a
larger existing system or the totality of environment. In cultural studies, we often encounter these
oppositions when exploring the relationship between groups of people, for example: bourgeoisie
and proletariats, white and colored, or disabled and non-disabled; in which, one term seems to be
privileged or more highly valued than the other (Marinaro, 2007). On the surface, these
oppositions seem to be just labels, but what makes them binary opposites is the idea that they
cannot co-exist. However, what we are after is to reconcile these differences using the
philosophy of Aesthetic realism, and its attempt to use art as a major force in addressing binary
oppositions. From here, let us first examine the notion of racial prejudice as it best holds the idea
of being binary opposites.

Prejudice and Discrimination

Prejudice and discrimination are not new. We often encounter these terms in all levels of
society, such as, in government, legislation, education, and even in our neighborhoods. If we try
to look back on our past endeavors, in general, a nations over emphasis on patriotism oftentimes

resulted into a false idealization that creates biases and discriminations especially to those who
are in minority in terms of racial and ethnic groups. This soon broadens to other dimensions of
differences, including, disability, gender, and religion.
Prejudice and discrimination concerning race and ethnicities have always had
psychological effects, and it continues most of the time in unnoticed situations. Disparities and
biases are still prevalent in most societies and this results in the inequity of resources,
opportunities, and injustices; this is common in developing countries just like in the Philippines
where the bulk of resources, most of the time, are only distributed to favored regions or districts.
There have been so many ways to combat these injustices and biases, and these warrant
some different approaches. The advent of technological advances in travel, the internet,
communication, news and information, and social media from all parts of the world can be
directly brought to us. But what we need to understand is to first identify the grassroots of racial
prejudice.
Racial prejudice, defined as a privately held position, the assertion of derogatory verbal
statements, or expressed as overtly publicly observable action, stems as a form of human
behavior (Barker, 2003). When we go back to the theory of Lockes tabula rasa, the idea is that
all persons are born with a mind that is seem to be empty or as a blank slate, upon which our
experiences will mark as our knowledge. Moreover, he argued that all persons are born innately
good, independent, and equal (Locke, 1975). Ironically, assuming that this theory holds to be
true, it is very disturbing to find that racial prejudice is very common even in children who seem
to have the slightest understanding of sensitivity and fairness.

Prejudice is defined as an opinion about an individual, group or phenomenon that is

developed without proof or systematic evidence. It can become more unfavorable if the
prejudgment may become more institutionalized in the appearance of countrys laws or customs
(Barker, 2003, p.372). Racism, is a form of discrimination, stereotyping and generalizing about
people or ethnic minority group, usually negative, because of their race, commonly a
fundamental source of discrimination against member of racial groups (Barker, 2003, p.397).
Likewise, the form of discrimination can also be extended towards class struggles, spirituality,
and ethnicity. The actions that were mentioned above opinions, laws, customs, stereotyping,
and generalizing are all examples of behaviors which were defined by psychologist B.F.
Skinner as everything that human does, whatever the public observations potentiality (1974).
Behavior analysis is solely based upon the applicability of principles, particularly the
empirical approach, to the understanding and control of our socially important behavior.
Prejudice and discrimination as discussed previously, stems out from our behavior and
understanding of our environment. Hence, what are we actually after is to look for a meaningful
approach, in which we sought answers in addressing racial prejudices and discriminations in the
light of Aesthetic Realism. However, it is apt to first lay the grounds of our understanding about
cultures and aesthetics which goes hand in hand.

Cultural Identity and Aesthetics

By definition, Aesthetics is the philosophical study of our aesthetic experiences,
involving studies of aesthetic objects, of the bodily disposition and mental faculties that allows
us to have such experiences, and also to study a language that used to express and convey these

experiences (Floistad, 2005). However, this western definition of aesthetics is not the focus of
this examination. According to Guttorm Floistad, the primary focus in Arab, African and Asian
aesthetics and moreover Latin-American philosophy, is rather different: they suppose that the
most significant function of aesthetic experiences lies in its outcome on the recipient and
especially their contribution to communal values. The liberation of the individual from his
contempt and selfishness stems from the growing culture of media, technology, money, and
consumption that eventually lead to moral justification and enlightenment. For instance, certain
aesthetic experiences found in India are introduced as religious experience. In Arab countries, the
artistic writings of the Arab languages serve to be an image of Allah: which according to their
Holy book Quran is a reminder of the revelations. Lastly, in Africa, art is demonstrated as tribal
and an essential requisite for strengthening social ties. The art therefore particularly chants and
hymns have a variety of forms, functions as a major contribution to the societys cultural identity
(Floistad, 2005).
Cultural identity, by definition, is a system of belongingness to a group of people, their
beliefs, customs, and manners, also their history and geographical location. Belonging, on the
other hand, means being part of, caring for and paying respect to/with (Tice, 1999). Both
concepts are part of core values especially in ethical considerations. In simple words, they are
communal values. Aesthetic objects are historically and culturally identified. Even nature and
natural objects may vary although the forms or the beauty of the various objects may be
arranged trans-culturally. In a sense, no culture is culturally pure. For example, the Filipino
language adopted words from Spanish, Mexican, and American languages. Whether we viewed
culture as absolutely original or not, we would still fall on the underlying notion that cultures

embraces other cultures practices. Art and religion are crucial elements especially in the shaping
of peoples cultural identity:
Religion and art go together almost in all cultures. Religion uses music in rituals and
liturgies and develops architecture to suit their liturgical needs. Visual art depicts their religious
history. Art shapes religion, affection, beliefs, memories, and provides symbols. Religion without
art could become some ethereal spiritualism, and art without religion would turn into directionless subjectivism, devoid of proper orientation (Amaladass, 2001).
We can arrive at an understanding that art, in any forms, sends a strong sense of aesthetic
experiences. Coupled with religious doctrines, it can become a meaningful turning point for
someone who endured religious conflict. As mentioned above, aesthetic experiences in the
Western tradition differs from Non-western, for the latter follows an inner-directed moral and
religious discipline. First, it strengthens the ties to religious community. Second, it is also
apparent that aesthetics serves as a basis for social criticism. For it can be used as a critic for
other cultures as opposed to what is the practice and custom of the other. Third, aesthetics, in its
variety of forms, is deemed to be a major contributor especially to communal values, including
religious values. And fourth, the trans-cultural characteristics of culture greatly affect the local
and national cultural identity based upon the shared communal values. As a result, what we are
trying to achieve is to reconcile these aesthetic experiences in the conditions of equality, mutual
respect and justice.
The main focus of this study is to understand social realities that can be examined and
that it merits a particular kind of approach. I have mentioned that what we sought is to develop a
mindset, a personal character, which is inclined towards addressing oppositions through the

promotion of our communal values. Hence, a support from a certain philosophical view is
important.
This is where I would like to make use of the scheme that was presented by some
thinkers who believed that our highest concern should focus or must have an interest for the
actual or real, as distinguish from the ideal, speculative or abstract. This is the tendency to
analyze things in view of the fact that they represent as they are. At the same time, especially in
arts, it is the manner of treating subject matter that presents clear description of everyday life
experiences. It is for this reason that the study would make use of the idea of realism as it applies
to the arts.

Realism in Art
In the notion of beauty and style in the art, realism has often been confounded with the
latter while idealism is the former. We refer to style as a departure from the common place of
truth of nature; it is by either representation or copying of form and in the composition of lines,
or by adding or diminishing away something from the form, or, by altering the direction or the
proportion of the lines. It is therefore the poetization of form and line. Idealism, on the other
hand, is a departure from the common place of nature in idea and subject it is the poetization,
the spiritualization of subject, thought, and spirit. Accordingly, as both the notion of beauty and
style are produced by the departure from the common place by means of poetization they are
most of the time confused, though they are certainly distinct from one another (Ruckstuhl, 1917).
All art can be categorized into realistic, semi-ideal realistic and idealistic. However, what
we are after is the realistic aspect of the art and what does realism implies as to what the function

of the art should be. As Charles Bernard, once mentioned in his Aristotle, stressing of
Aristotles idea of the aim of art: - That is the aim of Art. What is the principle of it? This
particular principle garnered diverse speculations and interpretations and has produced matter for
so many debates: is Imitation. The actual passage is very clear to us and devoid of vagueness:
All arts are imitations (Poet, I). The arts do not vary significantly except that they all just are
imitations, in a means of imitating the objects and by which how they imitate it (Ruckstuhl,
1917).
Imitation, by definition, is a thing intended to simulate or copy something else. Just like
when a monkey inside a cage imitates the action of a boy who is fond of watching him. Realism
in art is the copying or imitating practically, of any object, action, scene, or drama in nature.
However, we could always ask the question, is realism in art is just the basic imitation of
anything? Then, we would always fall to the notion of art as defined by Idealism. It is for a
reason that, in a large sense, it has become the realization of some kind of an Idea, or let say
Ideal which is created by the artist, since we assume that everything stems out from an idea
primarily. Therefore, there is no such thing as a complete work of art that can be categorized as a
piece of realism in the totality of art since every human work, from baking a wedding cake to
constructing a house, is always a work of Idealism because it expresses some sort of ideas, or
conception. Why does the discussion of Realism matters in our examination about art? Because
there are some human works that fall under the category of, what we commonly called,
Idealistic-Realism (Ibid.). And in this kind of realism is what I actually holds dear. For example,
we have the The Spolarium by Juan Luna, which is said to be one of the most celebrated
paintings by a Filipino. The subjects and the depiction of the painting was not actually the certain
situation that is actually happening during the time it was made, but we could see an ideal,

subject or story, so well composed, superbly painted, with notably truthful aura. The painting
speaks of realities, more than just ideals, which were in fact transpired during those periods of
time. However, everything that is imitated with a truth to nature is barely equaled to what is
being copied. We can divide the sense of the painting as to the composition being ideal, and real
in its execution. On the surface, Luna imagined or created nothing, except only the composition.
In a nutshell, we may now define Realism as follows: Realism in art means, first: the selection of
a subject dealing with things and human activities of a commonplace truth of nature, and second,
the definite representations of the forms of nature in any subject that was chosen, by means of
imitation, especially to that of forms with the utmost possible truth to nature. And as for the
reason for focusing on this type, is that it sends a stronger sense of communal message more than
any other type of realism, especially that the application of this examination is directed towards
addressing binary opposing elements such as racism that involves different ethnicities and
cultures.
There is indeed a noticeable connection between aesthetics and realism. The former
speaks about a set of principles concerned with the appreciation of beauty, especially in arts. On
one hand, the latter tells about the attempt of arts to represent subject matters as truthful as
possible, without artificiality. The combination of the two concepts openly channels us to the
philosophy of Aesthetic Realism. Our examination of the philosophy is not only directed towards
our understanding of the meaning of both concepts as conceived independently, rather, we wish
to recognize that the totality of the philosophy speaks about an attitude it is the manner or the
outlook of every person on how he or she sees life as part of his or her realizations.

Aesthetic Realism as an Attitude towards Life

Aesthetic Realism was founded by Eli Siegel in 1941.The philosophy has three core
principles: First, the deepest desire of every person is to view the world on an honest and in an
accurate basis. Second, the greatest danger for a person to refrain from appreciation is to have
contempt, thus, the goal of Aesthetic Realism is to abstain from it. And third, the study of what
makes for beauty in art is a guide for a good and complete life. To achieve the goal, one must
incorporate the philosophys maxim which is the making one of opposites, and that the making
one of opposites is what we should go for ourselves.
Aesthetic Realism states that in every ethical consideration, it should always begin with
the human obligation to see everything in a positive and accurate basis, means to say, the
immediate aesthetic experience it manifests. In other words, one must not succumb to contempt,
for it brings negativity and injustice which will cause a person to dislike his view about life and
the world as a whole. Contempt is the feeling that a person or a thing is beneath consideration,
worthless, or undeserving. The first success of contempt is the feeling in people that they have
the right to see other people and things pretty much as they pleased. Most people have felt that
there is no need for such obligation to see other people and other objects in a way that seemed to
go with comfort this reality is the beginning of the injustice and pain of the world. It is
contempt in its first universal, hideous form. Siegel provides two means, as Aesthetic Realism
sees it, of bringing some satisfaction to ourselves. First, for example, is to see something just like
a sunset, a poem, a concerto, which is actually a by-product of our reality and stands for the

world that which pleases us through what it is: its space, time, and structure in mind. This is
according to him the aesthetic victory which is the most sensible of all victories (Siegel, 1981).
Aesthetic Realism sees all reality including the reality that is oneself, as the aesthetic
oneness of opposites. It is clear that reality is in motion and rest at once, change and sameness at
once. If that is the premise, we should also look at ourselves as a change and motion at once,
change and sameness at once since we are all part of the reality. For example, if I ask someone
if I am in motion this afternoon at 3oclock, and if I am still the person I was the answer would
be: Precisely, you are moving and still you are what you are at 3oclock in the afternoon. It can
also happen that music is felt always as oneness of motion and rest, or of sameness and
difference. A person, like music, is just an example of aesthetic reality; for every moment of
persons life, he is at once at rest and in motion, sameness and change. For Siegel, Aesthetic
Realism is personally useful especially for character development. It is always to view the world
as positive as possible, and a hope not to miss anything which tells what the world is. Therefore,
Aesthetic Realism, then, is unabashed philosophy, as it presents the instances as sociable to a
person; as perhaps deeper, wider, and more oneself or realist than thought (Siegel, 1981)

Chapter 3
Art and its Aesthetic Function

There have been numerous accounts coming from various philosophers who said that
even reason could not explain the abstract notion of beauty. For Aristotle, the concept of beauty
must have some rational properties, such as order, proportion, and symmetry, It can also be
understood through intuition experienced with human feeling and emotion. Thus, an aesthetic
experience could produce a mixture of feelings such as rage, grief, suffering, joy, and pleasure. It
is of the rightmost concern to study various theories of art in order to grasp what is essentially
relevant in our quest to prove that art evokes aesthetic function, and it has other instrumental
functions. These various theories could be used in order to aid our understanding about art and
aesthetics in general.

Art and Pleasure

Some philosophers have argued that the value of art is necessarily connected with
pleasure or enjoyment because, they argue, to say that a poem, a painting, a play or a piece of
music is good is a way of saying that it pleases us. Here lies the concept of Aesthetic Hedonism
which answers the question what makes art valuable? is that we see art as a source of pleasure
or enjoyment for our self and to others. The best known philosopher to hold this view is the

Scottish philosopher David Hume (1711-76). In his essay entitled Of the Standard of Taste he
argues that agreeableness is the most important thing about art, it is about the pleasure we
obtain from it, about someones sentiment, not its intrinsic nature. The judgments whether we
perceive art as good or bad are not actually judgments at all mainly because sentiments has
reference to nothing beyond itself, and it is at all times, wherever a man is conscious of it (Hume
1963: 238). So to say, aesthetics preferences are expressions of the taste of observer, not a
description or statements about a certain art, and Hume thinks that the wide variety of opinions
regarding art that we find in this world is a verification of this fact.
Aesthetic opinion is essentially subjective, not objective. However, by their very nature,
they still are connected with enjoyment or pleasure, and at least some artistic sentiments are not
discountable. Moreover, that pertains to of Tragedy, where dreadfulness of the event is on the
emphasis, he finds it puzzling that some people would willingly watch plays, poems, or even
paintings that includes events that will horrify them. He explained that the horribleness of the
events would naturally repel us; it is turned into pleasure by the artistry with which the events are
depicted (Hume, 1711)

Art and Beauty

Contrary to the subjectivist view towards art, a German philosopher Immanuel Kant on
The Critique of Judgment developed an objectivist approach when it comes to beauty and
generally as it applies to art. He calls aesthetic judgments judgment of taste and note that
though tastes are based in an individuals subjective feelings, they also claim universal validity.
Our feeling about pleasure and moral goodness does differ from our feelings about beauty in that

they are disinterested. It is for the explanation that we seek to possess pleasurable objects, and
we seek to promote moral goodness, but we originally appreciate beauty without feeling driven
to find some use for it, so as to say in the case for having a tastes. He later explained that
judgments of taste are universal because they are disinterested: our individual desires or needs
have no effect when we appreciate beauty, so our aesthetic response applies universally.
However, aesthetic pleasure comes from the free play between imagination and understanding
when perceiving an object (1970).
Kant was able to distinguish the beautiful from the sublime. While the appeal of beautiful
objects is immediately apparent, the sublime holds a cloud of mystery and ineffability. While a
Greek statue or a pretty flower is beautiful, the movement of storm clouds or a massive building
is sublime: they are, in a sense, too great to get our heads around. Kant argues that our sense of
the sublime is connected with our faculty of reason, which has ideas of absolute totality and
absolute freedom. While storm clouds or a massive building might stretch our minds, they are
nothing compared with reasons ideas of absolute totality and freedom. Apprehending sublime
objects puts us in touch with these ideas of reason, so that sublimity resides not in sublime
objects but in reason itself (Ibid.).

Art and Emotion

Others would also have argued that what matters most in art is the emotion it emanates,
that is both the feeling of the artist and the emotional impact of the art in its audience. Tolstoy
noted that if pleasure is the commonplace explanation of the value of art, expression of emotion

is the commonplace value of its very nature. It emphasizes that intense emotion is an authentic
source of aesthetic experience.
Art is a human activity consisting in this, that one man consciously by means of certain
external signs, hands on to others feelings he has lived through, and that others are infected by
these feelings and also experience them (Tolstoy in Neill and Ridley 1995: 511).
Artists are inspired by their experience of deep emotion, and so they use their skills on
painting, sculpting, or in music, to embody that emotion in a work of art. The mark of its
embodiment is that it motivates the same emotion in its audience, the artist then is able to
communicate emotional experience.

Art and Understanding

It is undeniable that any work of art has cognitive value. A more integral relationship
between artistry and understanding can be found on some work of arts that contain selfconscious statements and elaborates information. Of course artists often have messages that
they hope to intend to convey. We can infer that a work of art is sometimes actually to enhance
our level of cognition or understanding. There are several advantages that cognitivism enjoys as
an explanation of the value and importance of art, because these shows that there is a good
reason to continue in trying to solve the problem that cognition and art encounters.
First, the notion that art enriches human understanding makes it relatively easy to explain
the place of art in every culture. We see art classes in various universities that intend to enhance

student knowledge about their culture and that would made them intelligible in conversing for
that matter.
Second, cognitivism can make someones undertaking a lifetime commitment to art, for
example as a painter, a composer, or a poet. Thus, dedication for art is worth living.
Third, we view art as a source of understanding, and with this, it enables us to explain the
way we discriminate between works of art. It is also the same way as saying that an experiment
is judged more importantly than another with the light of its contribution to wider intellectual
concerns, so therefore a piece of art can intelligibly be said to be more profound if it enhances
our understanding .
And fourth, aesthetic cognitivism enables us to make sense of an important range of
critical vocabulary, because if art can deepen our understanding, then we can describe a work as
the exploration of theme without any conceptual language deficiency (Graham, 1997).
The purpose of discussing these theories is that we simply want to build with them. These
propositions we established lead us to interpret the dynamics and meaning of art, particularly in
music. In result, the purpose of art in this perspective is to create an aesthetic arena that is
conscious of politics and relates to emancipation. We should not limit ourselves with the clich,
art for arts sake but we should be able to comprehend the dynamics of art: its notion of beauty,
the sensation it emanates, the emotion it expresses, and the understanding it delivers. The
philosopher D.W. Gotshalk points to the dynamic interaction between these theories based on his
universal criteria. He describes these criteria in terms of the interaction of expression, form,
materials, and the function of art in society. Each of these aspects of art has its own dynamics, as
explained and elaborated previously, but when they come together creates a powerful interaction

and conviction, and that they need to support one another. We should constantly view art as the
synergy of these ideas so as to generate a clear manifestation of what is really the function of art
in the society. Gotshalk clearly pointed it out that for us to judge art, we should eliminate the
error of judging it ideally, and its material dimension should be scrutinized.
The materials of the artist the pigments, tones, timbre, marble, etc. are part of the artists
tools, and usually involved with the artists intent. The proper resolution in the differences in these
materials (as red vs. blue in painting, or as faster vs. slower in music) is critical to understanding a work
of art. In painting, pigments have different hues and values of intensity that must be brought together to
create an aesthetic experience. In music, tones contrast in pitch, timbre, and volume and they must find
an aesthetic connection. In sculpture, marble has its contrarieties in grain, color, texture, and sheen, etc.
In creating a work of art these contrasting qualities must join aesthetically (Gotshalk, 1947).

The connection of the materials and other categories such as its form and expression is
also a necessary point of reference especially when judging a particular piece of art; however, the
aesthetic use of the tools, as quoted above, is of course inadequate. What we need to secure is a
criteria essentially on the aesthetic form to take the proceeding step in looking at art as it
presented to us. Plato once argued that the form of the art faces the problem of space and time,
tension and resolution, causality and teleology and these are universal forms, which according
to him are the structure of human existence. Art manifests these forms. These universal forms
can be a basis for creating the specific aesthetic form that we are aiming for, thus, the duty of art
is to bring the forms of art a material dimension and to generate the aesthetic experience. What
are the principles behind that expresses this so called Aesthetic form?
Gotshalk would say that the form of every art work expresses various principles.
Examples of these principles are balance, harmony, centrality, development, and a lot more. A

work of art for example a song, a painting, a play, or a sculpture exhibits unity based on these
principles, which are universal to art. Harmony, for example, achieves unity by recurring in the
artwork. Balance achieves unity by the virtue of contrast; since certain aspects oppose and
equalize each other. The opposing principles appear to form a system of neutralizing tensions to
produce that unity, but the dynamics still remain. However, the principle of balance and harmony
are the reverse of each other, as balance emphasizes diversity in unity, and harmony emphasizes
unity in diversity. The principle of centrality on the other hand becomes apparent when an
ensemble of items is so connected that one item or group is given aesthetic dominance over the
others, which are still important but subordinate to it. An example of this is Giottos Madonna
Enthroned with its dominant mother and child; furthermore in music, a certain tone or chord or
even riffs may dominate over the other, e.g. a riff that is used in the song Smells like Teen Spirit
by the band Nirvana. Moreover, the principle of development, as to contrast to other principles is
based on novelty as opposed to harmonys dependence on repetition; it is based on
disequilibrium as opposed to balance, which is solely based on stability. Centrality is obviously
based on hierarchical order, but development is an arrangement of items as prior or posterior as it
manifests progression. The aforementioned principles are the chief principles of form that are
usually used by artists for the enhancement of perception (p.99, 1962).
To proceed with the steps on establishing the criteria; the form must connect reasonably
with the expression in the work of art. By expression in a work of art, Gotshalk would mean
that it is great wealth of content the feelings, character, idea, and personality lying behind
the material surface and within its structured form. The artists may produce an art consciously
or unconsciously, the underlying principles in the use of materials and form must then bear
that expression. For example, in a dance, the body must express moving sensations of lightness,

fluidity, liveliness, floating and falling. In music, a harmonious combination of instruments is

required to express melancholy, sparkle, swiftness, power, or uncertainty. In painting, there are
certain colors and texture needed to express tenderness, loveliness, coherence, and alluringness.
And so on (Ibid).
For the last proposition, the dynamics between the materials, the form, and the
expression of art must be evaluated in what is its real function in the society. We have to crossexamine the connection of art to society with more accuracy and as rigid as possible. Hence, we
should also be wary that if we link art and its aesthetic function to the society, we should
anticipate some political issues that lie ahead. As Gotshalks analysis taught us, the principles of
art should stand solidly in the field of aesthetics. However, there is more to tackle about art in
terms of culture, and that includes gender, race, class, and nationality. Of course each culture
requires study for how aesthetic principles apply in their context. This means to say that we have
to link aesthetics and the art with sociology to examine variable norms that is important in this
study. The people or the spectator of the art is required to open up their eyes since beauty can be
virtually anything, and it has to go in and be part of the their life, the reason why this particular
study of Aesthetic Realism and the Art involves the method of participant observation which
engages everyone to be conscious of, so as to address certain political issues specifically
prejudice and discrimination that is still prevalent nowadays.

Chapter IV
Aesthetic Realism in the Music of Asin

The value of art depends on the aesthetic judgments we had given; it could be through a
matter of taste, beauty, emotion, and cognition. Nevertheless, whatever facts or explanation it
may hold to be true, we lay down that the value of it has to be respected. We refer to these facts
depending on the form of the art it shows. Music is a different medium from drama, architecture,
sculpture, poetry, and so on. These differences in the value of art, is an issue that has to be
examined in order for a more detailed way in relation to each and what it represents for.
As discussed in Chapter 2 and 3, the discussion up to this point will be concerning the
respective importance of pleasure, beauty and insight in general, and the study of Aesthetic
Realism believes that the value of music holds much dear compare to other forms. There are
several reasons for why this study chose music as its medium. First, it is regarded as one of the
established art, and often credited as art in its purest form. Moreover, it provides explanation of
the value of art by understanding the song itself and the artist satisfactorily. Second, the value
of this form quickly leads us to the understanding of our environment or reality because it has
been said that a song written by an artists is a representation of what transpired in his reality,
what he thought, and what he felt. It is also unquestionable that, for instance, a provocative
music can and does give pleasure, sometimes often valued for this reason. Furthermore, it is
often regarded as a widely accepted powerful tool for the expression of emotion and insights, as

other musicians and composers have attributed to it as a meaningful means to reveal something
about human life and experience.
The aim of this chapter is to elucidate the notion that music holds as a powerful medium
in the light of Aesthetic Realism in our quest to offer a solution in addressing prejudice and
discrimination, so as to view the world as positively as possible. From here, the thesis would
dwell on the analysis of the songs written and performed by one of the most iconic and patriotic
Filipino folk rock bands formed in the 1970s which we popularly known as Asin. The band is
recognized for incorporating local tribal instruments into their music. They had taken respect and
admiration for Filipino indigenous music, and as a result, what they did was to offer genuine
Original Pinoy Music that is essentially rooted from the music of ethnical minorities from
different regions in the Philippines, such as the Ifugaos of Cordillera, Mangyans of Mindoro,
Tausug of Sulu, and so on. The group was also able to penetrate the consciousness of the masses
by connecting their arts message that is either explicit or implicit, through producing songs that
invoke social, political, and environmental advocacies, especially on the atrocious event that was
transpired during the time of Martial Law which most of the people deemed as one of the darkest
time of the country. From that social reality, what the band did was to construct songs that would
tap on the awareness of the people, imitated possible state of affairs and had put it in the lyrics of
their songs, so as to capture what were really the evocative emotions during that period. The
thesis identified three of their songs that best exemplify what the philosophy of aesthetic realism
is all about, these are: 1.) Ang Bayan kong Sinilangan, 2.) Gising na Kaibigan, and 3.) Himig ng
Pag-ibig.

In the song Ang Bayang kong Sinilangan, the point of view comes from a person who is
said to be born in Cotabato. The lyrics of the song narrate how disordered the world is: Kasing
gulo ng tao, kasing gulo ng mundo. The narrator merely describes it as troubled as humanity,
and as chaotic as a dystopian society. He straightforwardly pinpoints to the reasons as to why his
birthplace is like that, and according to him these are disagreements in religion and principles.
The song also speaks of a battle between fellowmen, who in fact are brothers, but they fight
among themselves. The person seems confused and disoriented why it happens; the spill of blood
and deaths of innocents have to occur which according to him are pointless and illogical.
However, at the latter part, the mood starts to change when the person who is narrating seems to
suggest reconciliation through mutual understanding and respect for one another: Akoy
nananawagan, humihingi ng tulong nyo. Everyone who is in conflict should throw away their
prejudice and discrimination and must create harmony among them. As a result, one must learn
to forgive and forget religious and political differences. Hence, at the last part of the verse
Ituring mong isang kaibigan, isipin mong siyay may puso rin katulad mo.
Ang Bayang kong Sinilangan I presume is a fine example of music that purely speaks
about the social reality that is happening today. It expresses the struggle of Moro brothers in the
Southern Philippines. The song delivers a very provocative call for peace and unity amongst two
opposing forces, and it delivers a strong message to reconcile differences and to create harmony
with one another since at the end of the day, we are still one as countrymen of the nation. A
nation that is estranged largely because of geo-political and religious differences is apparent; the
practice of prejudice and discrimination is of utmost concern since it can result into disparities
and biases towards some race and ethnicities. The song relates to us that the process of deterring
from contempt in order to view the world as positively as possible should always be mindful of

the causes and must identify different factors as to why this particular treatment occurs, for
example, the culture and beliefs of the group involved. The concept of cultural identity speaks
basically of what should be the approach on dealing with this particular problem that is greatly
rooted from varying culture, therefore, the use of a universal link which the thesis presumed can
be examined in music particularly in this work.
To veer away from contempt, which is one of the tenets of Aesthetic Realism, is what the
song Gising na Kaibigan ko merely put forward to. In the first verse, Nakita mo na ba ang dapat
mong makita, nagawa mo na ba ang mga bagay na dapat mong ginawa, the composer plainly
asks the listeners of what was it that they did or what they will be doing in the future by
questioning the things they have done in their life. The verse apparently talks about the actions of
man in understanding what the composer intends to convey, it addresses its audience in an arena
wherein the message of the song tries to invoke persuasive expression so as to invoke change in
his course of actions. Consequently, Kalagan na ang tali sa paa, Imulat na ang iyong mga mata,
is somehow a call for people to emancipate their minds and do something what they deem is
necessarily good, so that as the last line of the first verse suggests, Kay sarap ng buhay lalo na
at alam mo kung saan pupunta. It directs its subjects eventually to have a purpose and a goal in
their life.
In the chorus, Gising na kaibigan ko, ganda ng buhay ay nasa sayo, seems to be an
insight of the composer to what should be the outlook a person must have in his life. He/she
refers to the addressee as kaibigan which we denotatively defined as someone with whom one
has a bond of mutual affection, and with this, we clearly cross-out the attitude of contemplation
which is largely discouraged in our study of Aesthetic Realism. It also follows that the ambiance,
or the special atmosphere created by an imagery of a particular environment of the song, seems

in a lighter mood which specifically made intentional for it brings solemnity and stillness on the
harmony of the song for it produce the aesthetic experience it is meant for, to express, to give
insight, to appreciate, and to encourage positive outlook towards our social reality. And for
someone who would perceive the music, might come up into a realization that having contempt
to the world which eventually leads to discrimination and meaningless opposition is not a path to
take into consideration because it is morally unjustifiable.
Likewise, the song Himig ng Pag-ibig, inspires us to understanding that life is full of
kindness and honesty. In the 2nd verse, the line Tulad ng ibong malaya ang pag-ibig natin, tulad
ng langit na kay sarap marating, it purely implies that affection which was referred as pag-ibig
is for everyone. It does not necessarily mean eros [romantic love] but it also taps those who are
in philia [brotherly love] which is also the love between two friends who are like brothers. In
effect, it brought us to the notion that in every ethical consideration, it is the commitment of a
person to see everything as honest and positive. In simple words, one must not be a perpetrator
of prejudice and discrimination since these bring injustice and negativity towards a person and
the world as a whole. As the 2nd to the last line of 2nd verse implies, Tulad ng tubig sa batis
hinahagkan ng hangin, pag-ibig ang ilaw sa buhay natin, we are asked to appreciate that the
beauty of our actions or whatever you believe makes you the person that you are. What is it that
you do will certainly define your character as a moral agent. Furthermore, the interlude which
has the words of, La la la la La la la along the instrumentation gives the listeners a somberly
impressive mood that causes some serious thoughts in the appreciation of life which for a reason,
I think the aesthetic function of the whole song. It encourages us to listen for it gives us the
pleasure because of the harmony it emanates and at the same time it expresses an attitude that is
basically to view the world as positive as possible.

Aesthetic realism, as mentioned on Chapter 2, has this tripartite principle. One, mans
greatest and deepest desire is to like the world on a positive basis. Two, the only way to have a
positive outlook, is to see the world as the aesthetic oneness of opposites. And three, the greatest
danger for a man is to be a victim of contempt - that is to get a false importance of glory caused
by self-centeredness and intolerance.
The three specific Asin songs that the study chosen; respectively, Ang Bayan kong
Sinilangan, Gising na Kaibigan, and Himig ng Pag-ibig, were all indisputably meaningful
examples of music that adhere to each of the principles of the philosophy aforementioned.
Besides, there have been commonalities in the lyrics of the songs, the usage of terms such as:
pagmamahal, kaibigan, malaya, and so on, which are in fact words connotatively
exemplifies the principles of Aesthetic Realism as it performs aesthetic function on unifying
meaningless oppositions. Each of these songs tries to address conflicting aspects or qualities of
reality, particularly conflicting emotions within the status of society, via inducing positive social
and political messages to the songs. For when that coherence is established, sincerity is felt, and
truly expressed by a person to other person. To understand the works of Asin, is to understand
that music, in general, can be of essential use which Aesthetic Realism renders to offer.
Therefore, every person can overcome prejudice and discrimination and have a true kindness in
their outlook towards life, music can be, more than ever before, a meaningful means for this.

Chapter V
Aesthetic Experiences, Subjectivism, and Aesthetic Realism

From the discussions of previous chapters, we are already confined on the notion that
Aesthetic Realism as a philosophical reflection merits actual more than thought. The essence of
being a realist is truthfully directed towards the actual experience of the subject matter,
especially in our study that involves arts. And since we are talking about an experience,
basically the sensible contact with observations of facts or phenomena, the problem is that we
may fall on the idea that experiences varies from one person to another. Especially for this study
that deals with aesthetic experiences, some potential questions may arise: how do we reconcile
these differences? Is there a particular standard of beauty that we should adhere to? Do we have
to objectively look at this approach in dealing with aesthetic experiences? This chapter aims to
address these possible difficulties that lie ahead.
In chapter 3, it was discussed as one of the classic theories of art, that the judgment of
taste, that is, the opinion of beauty, is based on pleasure. This particular theory or idea of
aesthetics is a clear frontrunner of subjectivism, hence, we embrace to believe that a person holds
the right to judge a particular form of art as beautiful or not. Agreeableness is only a matter of
whether a work of art gives pleasure; otherwise, it is not agreeable. A realist would say that, in
aesthetic pleasure, it represents events or objects as possessing aesthetic properties. Furthermore,
the realist would say that, unlike judgments about the niceness and goodness of for example the
music of Asin, aesthetic judgments are solely based on pleasure, the essential content of it must

be purely aesthetic, in a sense that it encapsulates aesthetic contents. In contrast, we also

discussed about Kants Critique of Judgement (Kant, 1928) as opposed to the former theory.
First, Kant espouses that aesthetic pleasure is not similar to what we might think as sensuous
pleasure, which has no content at all say for example the pleasure of being near in a fireplace to
keep you warmth when the weather is too cold. Second, interested pleasures, which bound up
by desires, have no aesthetic content. The appeal to aesthetic content helps us to distinguish
aesthetic pleasure from pleasures that has no content and from pleasures that has non-aesthetic
contents. Yet, although it is true that the realist must say at least that, grasping the idea of nonaesthetic contents is not distinctive of the approach the realist follows. It is for a reason that we
cannot actually assume that the existence of aesthetic concepts and contents implies a realist
account of pleasure. A realist account of pleasure would be something that is realistic and
representational in content. A realist account of pleasure is not dwelling on the idea of sensuous
pleasure; it comforts from pleasures that are valuable in content. For example, on the examples
of songs that were aforementioned, the aesthetic pleasure it holds is greater than that sensuous
pleasure it brings. Besides from the fact that it pleases our hearing, which is of course sensual,
these particular kind of music delivers factual and representational pleasure which we actually
wishes to accomplish the pleasure of being in a state of satisfaction, happiness, and agreement.
How then we should describe aesthetic realism? Is it only a matter of judgment of taste? a
matter of subjectivism? To widen the scope of the philosophy, I argue that the focus of our
understanding should not only be limited to aesthetic experience, it should be a special kind of
experience that is endowed with representations and actualizations; means to say that our
experiences should represent aesthetic state of affairs, facts, events, and so on. This, in turn, that
our aesthetic experiences of the world are embodies genuine aesthetic properties. By these

experiences, it results into our aesthetic judgments, which also must have representational factual
content. For instance, a realist view of music, the content of our aesthetic experience of music is
the representation of a musical state of affairs. What do I mean by this? This means to say that
we represent sounds as having certain properties that are musical, such as beauty, harmony,
passion, elegant, anger, and so on. So a realist would say that it is what it means to appreciate
and understand music. It is, first, to experience the sounds as possessing the aesthetic content that
in fact they possess. And second, to judge the sounds possess by these properties. For example,
in the song Himig ng Pag-ibig, the melody is passionate, we appreciate and comprehend it if and
only if we deem it as passionate, thus, and we judge the song as indeed passionate.
Aesthetic realism, on one hand, seems to be a moral philosophy. It is for a fact that it
prescribes moral conduct and principles. Now if we compare aesthetic judgment to moral
judgment, which of the two is more plausible? As discussed above, aesthetic judgment must be a
realistic affair, and must always be associated with feelings and emotions. These particular
aesthetic judgments are deriving from our aesthetic experiences which of course bring us to our
feelings of emotional response. On the other hand, moral judgments can be derived from our
moral belief which need not be experiential, for example, when a child listens to her mother not
to steal because it is immoral. The child may develop a moral belief of not stealing because it is
bad even though he or she may have not experienced it yet. Nevertheless, we wish not to
discriminate morality from aesthetics because from the start, the study of Aesthetic realism is all
about directed towards inner-morality and appreciation for aesthetics and arts. The thesis wishes
to supplement aesthetics to morality for it holds a promising solution to the problems presented
and discussed by the study.

Chapter VI
Conclusion

The philosophy of Aesthetic Realism suggests that an optimistic view of the world is
what we should aim for. The core doctrine of the philosophy: All beauty is making one of
opposites, and the making of one opposite is what we are going after in ourselves. The principle
seems to be illogical in every context because when you come to think of it, how would someone
reconciles oppositions when in fact the very essence of it is irreconcilable? The answer for this
question is not a matter of logical judgment or whatsoever, what the philosophy prescribes to us
is to render a positive outlook towards the world and disregards the notion of having contempt to
someone. Of course, there would always be ethical considerations to follow especially that
various cultures follow different norms and beliefs. However, what we are sure of is that the use
of art music in particular as medium for affecting lives and practices of people is evident and
instrumental in a sense that it renders communal values especially directed to those people who
are victims of prejudice and discrimination. This horrid issues, in particular racism, do not
actually begin with an attitude to people because of their skin color, it actually begin with our
ordinary contempt to people for what we think that they are different from us. It is an unpleasant
disposition in life to think and act on a person or a group of people that is different in so many
ways to isolate them on the existing system of customs of society.
I would like to play on the idea that Humans are different and the same. Just like dogs,
what more of different in aspect than a terrier dog, a bulldog, a labrador dog, and the husky dog?
These were all dogs that only differ in sizes and personalities yet they still in the same species.

We cannot reasonably doubt that whatever the breed of dog a certain dog might encounter, the
dog certainly does not doubt the entire identity of the species. In simple words, the dog can
recognize another dog, no matter how different they are. How much more of humans? Given that
we are more rational and endowed with mental faculties that are needed to understand the world
more than a dog, or any animals can. In here lies the notion of oneness of opposites that is to
see a person as another person just like you, regardless of race, origin, social status, and so on.
As mentioned on the previous chapters, the study is directed to communal values of
essentially every person. It seeks to enhance our understanding about the world and the moral
values that governs it. Contempt, the feeling that looking down somebody else, is assume to be
the principal source of prejudice and discrimination which leads to an ideology which we refer as
racism. It is the feeling that we see ourselves as more if we can see another as less. By claiming
that ones ethnicity or race is more superior to the other, is a victory towards contempt, which the
study wishes to lessen and avoid, if possible. The thesis hopes to achieve the aesthetic victory
that it was presented which is to promote the convergence of ideas and aspirations so as to avoid
destructive oppositions. It might not be that easy to achieve but it is so promising when realized.
The study of Aesthetic Realism can be of a relevant consideration especially when
creating a policy or regulation. It is apt to affirm that the universal form and expression of the art
and its function in the society can be a crucial lens, and can be a meaningful venue for
convergence of opposing ideas. The thesis wishes to supplement the resolution of some pressing
social issues such as the struggle between the Philippine government and our Muslim brothers in
establishing their identity on the Southern Philippines, using of what we have in the form of
successful and meaningful works of music such as: Ang Bayan kong Sinilangan, Gising na
Kaibigan, and Himig ng Pag-ibig. The only difficulty here is that whether the subjects involved

subscribe to the idea that the study presented. With the amount of songs that are being produced
from time to time, we wish to encourage that the production of this particular type of songs, that
which invokes certain kind of emotion and aspiration must be of our relevant concern. This is in
view of the fact that discriminations our rampant whenever you go. This particular kind of
approach I believe is no-nonsense to begin with. Nevertheless, what the thesis did is to offer an
alternative outlook using the study of aesthetics and the arts and offer a new perspective in
addressing oppositions especially it seeks to enhance personal understanding with regards to
what is beautiful and good. And that at the end of the day, the problem of prejudice and
discrimination would be lessen and must be discouraged on a greater basis.