ABSTRACT
In practical life, our predominant habits are dictated by the need to utilize perception as the main source of information about a world of things which are subject to our manipulation and to which we respond. Therefore, in everyday life, perception is emasculated, which impinges upon our aesthetic awareness. It further states that a work of art is judged to be successful aesthetically to the degree that it fulfils this function of extending and satisfying perception, and the satisfaction and the joy which we experience is no recondite sensory pleasure but the satisfaction experienced in the exercise of a skilled faculty for its own sake. This is why we can properly speak of aesthetic satisfactions as cultural values, and this is why they carry an accrual of spiritual vitality. It so argues, at the end, that in cultivating the perceptive skills required for the appreciation of the arts, one of the most difficult tasks is to accustom oneself to perceive precisely and exactly what is there, and, hence, it is the apprehension of richly practical implication that extends the perceptual faculty.
