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LOGOS, ETHOS, AND PATHOS

Selection criteria for an art-exhibit

Jean Constant
Visual Communication Program,
Northern New Mexico College

ABSTRACT. The Greek philosopher Aristotle proposed three ways to categorize and
evaluate art in its larger perspective: Logos, persuading by using educated knowledge and
reasoning; Ethos, convincing by the character of the object and its author; Pathos,
enticing by appealing to the viewer's emotions.

Like many quotes from past authoritative figures, Aristotle’s words can be interpreted
literally or figuratively. Our proposal will narrow its focus on the figurative appreciation
of each concept, as we believe the context and particular of our environment today lends
itself well to revisit the philosopher’s reflection on art.

Art criteria will be looked at, not as consumable, but from the perspective of the producer
of visualization and how one develops an effective and well-understood statement.
Creating art with utmost comprehension and mastery of the craft will obviously impact
positively the recipient. To sustain this effort, we will appraise what producing art today
implies, and how we can improve on a collective effort that represents the accumulation
of all past and present knowledge in the field, regardless of geographical of cultural
context.

We do not claim in such a short presentation to offer definitive answers to a problem that
has confounded humanity since the dawn of time, but we hope this alternative approach
to a situation affecting art as well as science in today’s chaotic cultural environment may
bring some positive elements of consideration into a healthy and constructive debate.

INTRODUCTION

Art, like science, has been the object of an unceasing intellectual assault by a peculiar but not
uncommon bourgeois ideology that exalts the notion of subjectivity to diminish or remove all
meaning from this form of expression and its intrinsic qualities. By “Bourgeois” we are referring
to the ideology that had permeated the western culture at the turn of the French revolution and
attempted to eradicate as a threat to the welfare of capitalism all that was not directly controllable
or quantifiable as immediate or future material profit.

The concept of “subjectivity” in art today is still lingering in many circles bound willingly or not
to this political, philosophical and educational doctrine that may not appear to be in the best
interest of the public and is used as a tool to divide and conquer what cannot be owned.

Many among artists and scientists have long agreed the term “subjective” applied to art is
misleading, if not self-defeating. The enormous amount of knowledge accumulated over centuries
of study in a field that has involved so many for such a long time is a testimony to a debate that

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continues to captivate philosophers, humanists, scientists, and artists from Kant, Schelling, to
Read among others [2-3-4].

There might be differences of opinion or perception based on the particular physiology of each
viewer, the environment and the setting of the display, but individual considerations are of very
little value to the production of art relevant to the shared consideration of scientists and artists
laboring to further the comprehending of our complex environment as outlined in J. Dewey “Art
as Experience” [5].

All agree that a 5-year-old will not react the same way to the Sistine Chapel or the Hagia Sophia
as an adult. It starts with a combination of size, stage of physical development, background
experience mixed with a distinct neural profile that influences the person’s appreciation as it has
been amply documented in Jungian theories [6]. Thus, how does one respect the individuality of
each participant yet brings the discourse to a level that raises above personal inclination can be of
benefit to all?

To stay within the scope of this article, we will investigate art as the sum of the collective human
experience built over thousands of years of careful observation and articulate criteria by which art
can be produced and shared to be beneficial to both the producer and the supporter of the arts [7].

In doing so, we hope to clarify and reaffirm the nature of the collaboration between science & art,
show the similarities and relevance of a common intellectual approach in mapping out the
environment as we perceive it, and hopefully encourage actors in both areas to collaborate further
in the exploring of our ever-changing environment.

I- LOGOS

In the first chapter of Poetics, Aristotle wrote, "Just as color and form are used as means by some
. . . the voice is used by others; . . .theses means are rhythm, language, and harmony." These three
elements, whether they are combined or employed separately, constitute the means of
representation [8].

The meaning of [logos] has evolved since it was first used to refer broadly to the concept of
knowledge and order. Knowledge as we understand it today applies to the sum of the individual
personal experience as well as the collective aggregate of all past and present experiments
conducted in any given field of investigation.

Good art starts with skilled representation, and good representation requires sound knowledge of
the craft. Whether an abstract concept or a realistic illustration, an effective visual representation
is built on knowledge, cognition of the material investigated, expertise of the method by which a
concept is depicted. Mastery of the perceptual parameters that affect how well the proposition is
received, understood and appreciated is a key component of the creation process.

From the Egyptian pyramids to the Greek architects, sculptors and masters of the Renaissance,
and closer to us, the color experimentation of the impressionists or the investigation of form by
the cubists, one will easily agree that art in this context is not an act of random visualization but a
concerted effort at exploring and comprehending the depth of our perception to build meaningful
imagery based on solid practices and keen appreciation of the environment. Visual expression is
anchored on personal observation as well as a critical comprehending of the many disciplines that
endeavor to understand and map out our environment. Cognitive and neuroscience expert B. Jules
stated that the core concept that understanding visually induced emotion is based on the study of

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phenomena that create perception [9]. One has only to examine the relationship between the
Fibonacci sequence and the portrait of Mona Lisa outlined by Deviance to appreciate how closely
observation of nature, abstract investigation and formal representation can meet in a statement
that is still convincing centuries later (Fig.1). It took Michelangelo years of study to come to the
point where he could safely evaluate the quality of the marble he wanted to use. Deep knowledge
of his craft allowed him to develop ideas, create new forms, and articulate his vision within the
physical constraints of the medium (Fig. 2).

Figure 1: Mona Lisa (by Michæl Paukner) Figure 2: Michaelangelo, David’s hand

One could argue that the same approach (knowledge) needs urgently to be recognized among the
practitioners of newer technologies. There is a not an insignificant risk that with only sparse
knowledge of the fundamental rules of visual communication, the practitioner may easily turn
into a producer of random images of various quality, never truly relevant to a discourse that aims
to celebrate and enrich human expression.

Logo, the knowledge and comprehension of the physical laws that relate to the field of visual
expression such as the study of form, composition, light and color do enrich visual statements.
Kandinsky’s observation in “Point and Line to Plane” stands as an acute mapping of those
processes that weigh in the debate from the perspective of an art producer rather than an art
theoretician [10]. Comprehending the medium and its language creates a richer experience for the
viewer as well. Knowledge makes art statements more meaningful and very relevant to a
discourse based on collaboration between art and science.

II - ETHOS

Aristotle wrote in Poetics, "It follows, therefore, that the agents represented must be either above
our own level of goodness, or beneath it, or just such as we are;"

Ethics will not be discussed here as a moral framework but focus on the inherent integrity of the
process by which art is created.

Relegating art to a simple act of subjective expression and visual representation as a succession of
accidental coincidences as we often hear in our daily environment may be equivalent to agreeing
that random expression is just as good as any form of coherent language. Ethos is the

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fundamental element that legitimates a creator’s investment in the larger field in which he or she
expresses herself.

Initially, Ethos may not sound like an attractive concept as it is often associated with moralistic
and social conventions: Populus, as some elitists would want us to believe, is more attracted to
the artist as a clown (Dali) or the mentally unbalanced individual (Van Gogh), (Fig.3-4).

Figure 3: Salvador Dali Figure 4: Van Ghog

This unhealthy characterization relegates any ethical proposition associated with art as redundant
and instead glorifies an alienation that diminishes and devaluates the commitment and sincerity of
the artist’s discourse.

Interestingly sciences have been under the assault of this same pretense that also claims that all
creations are the result of random intuition - negating or undermining the fact that it takes
tremendous knowledge and solid sense of professional ethics to reach the point where intuition
can happen and be recognized as a valuable asset in the development of any given theory.

The same oppressive ideology that tries to “subjectivize” all it cannot control, tries to permeate
the public perception of science and art. It propagates myths and archetypes such as the “nerd” as
the paradigm of all things science and (so-called) popular iconographies celebrate the scientist as
an absent-minded dreamer (Fig. 5) or a benign outcast such as in the much-publicized picture of
the disheveled and tongue sticking Einstein (Fig. 6).

Figure 5: Herge’s Cuthbert Calculus Figure 6: Einstein

The rationale behind the promotion of such caricatures pertains to forums that have little if
nothing to do with the purpose of advancing the perception of Science or Art as tools that benefits
a common good. Ethics, in this light, is a valuable instrument for both to insure the integrity of
their statements and reclaim their rightful place in society.

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Ethics as the expression of an honest and educated effort will ensure both the worthiness of the
actor’s commitment to his task and the credibility of the image-maker in a fractious environment.

Computerized imagery is fast becoming the most prevalent mode of creation today. How many
more Mobius strips do we need to be exposed to before we can agree that art is more than the
random expression of a computerized algorithm and that machines do not have the wherewithal to
make significant informed statement unless their author knows and applies some rigorous visual
communication principles by which scientific knowledge can successfully become an art
statement

Ethics in this light becomes all the more relevant as ignorance can easily hide behind the
sophistication of the programs. Producers of images that apply to their process a good sense of
ethics will ensure machines continue to be used to express the best and most coherent expression
of their personal quest as Maim June Paik often referred to in his multimedia installations [11].

Ethos encourage producers of visual imagery. It sustains their challenge to explore all available
means of informed knowledge to incorporate their findings in their statement. In so doing, it
makes it all the more relevant to the discourse of art in the larger context of collaboration between
science and art as exemplified by J. Smidhuber’s “low complexity approach to art” [12] (Fig. 7).

Figure 7. Butterfly approaching a vase with a flower, iIllustration of the low Kolmogorov complexity. J
Schmidhuber

III - PATHOS

Pathos represents an appeal to the audience’s emotions. We will not discuss the larger
implication of emotion and artistic sensitivity, a subject studied at length by philosophers
throughout history: David Hume (Of the Standard of Taste) [13], Georg Hegel (Lectures on
Aesthetics) [14] and the many other universal thinkers who participate in the conceptual aspect of
this debate of the mind.

To stay within the scope of this study we will focus on the mechanics that help produce better
visual statements. We will narrow our interest in Pathos from the perspective of the many
scientists and artists that have explored objectively the nature of the emotions and occurrences
that create a particular reaction, can be reproduced universally, produce superior visual
statements, and engage the viewer in a worthy visual experience, as J. W. Goethe recommended
in his “Theory of colors” [15].

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Emotions in art today are best understood when looking at multimedia productions. Images are
mixed with sound and time elements to deliver a product where narrative and sound sustain the
imagery. Hitchcock complex mastery of light is amply documented in his notebooks [16]. The
visual narrative of Koyaanisqatsi, Godfrey Reggio’s collaboration with composer Philip Glass
[17] makes for a cogent example of contemporary technology put to the service of the larger
expression of art and universally recognized as a very effective visual communication statement.
(Fig.8-9).

Figure 8. North By NorthWest. A Hitchcock Figure 9. Godfrey Reggio, Koyaanisqtsi

Science has given artists powerful tools in the comprehending of the mechanics of emotion.
Studies of optical phenomena investigated at the turn of the past century in experimental
psychology (Wundt [18]), in physiology (Helmholtz, Hering [19]), or psychology (Bongard [20])
provided objective background information
that guided the understanding of the physiology of emotion as well as influenced the initial
coding environment of the nascent computer technology.

Further investigation of color theories by artists Itten [21], Albers [22] and reflection on the
nature of geometry in creating lines and shapes help understand what makes good art universal,
timeless and relevant in all circumstances from the geometrical use of space of the Hagia Sophia
basilica, the effectiveness of sound in medieval cathedral architecture or the contextual and
spatial conceptualization of the Frank Gehry's Diller building in Manhattan. [23] (Fig 10-11).

Figure 10: Hagia Sophia, Istambul. Figure 11: Gehry’s Dillard Building, Manhattan

Studying and comprehending the physiology and objective components of Pathos will help the
artists communicate better and more successfully as all emotions are based on common
physiological attributes. The viewer will also benefit from the experience from a larger, more
inclusive perspective.

CONCLUSION

“Science often believes it can dispense with the verbal arts, and humanities avoid science…The
same cognitive/verbal skills serve any subject of inquiry…What matters is that these generic
skills be strengthened. The consequences for our educational system could be profound
(Fahnestock 1999, p. xii).”

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Professor Fahnestock’ s comment in the context of Higher Education and rhetorical analysis of
science applies equally for all endeavors that aims to produce and share meaningful visualization.

Logos, Ethos, Pathos, three universal principles that carry to this day the same fundamental
significance they had two thousand years ago looking at art both from the perspective of the
image maker or the connoisseur of esthetics.

Today’s environment allows all field of investigation to communicate, collaborate and benefit
from each other’s interaction. Newer technologies allow scientists to make forays into the world
of artistic expression. Artists using the digital medium gain access to a wide knowledge inventory
that would have been challenging and mostly out of their reach in past circumstances.

Science provides us with a tremendous amount of objective data that, used with each component
of Aristotle’s definition of art, ought to aid develop a well-balanced, non-objectionable, non-
controversial opinion that will benefit all involved in the process, promotion and consumption of
art.

It could also be a dynamic and positive incentive to counteract and set aside the self-defeating
stigma of subjectivity in art production and art appreciation. It will encourage the pursuance of a
better, richer and more meaningful artistic statement.

Defining and understanding better the parameters by which art is being produced is also directly
beneficial to Science. One only has to follow the progress of the HIRISE Mars exploration project
[24] or the Osiris project in DICOM imaging [25] to see how two seemingly unrelated projects
represent a successful collaboration based not on intuition or subjective interpretation of random
circumstances but informed understanding of universal laws of nature and qualified expertise in
the field of visualization.

"Omnis pore pulchritudinous forma unites est." - Unity is the form of all beauty “said St
Augustine.

Art that blends and unites Logo, Ethos and Pathos is worth encouraging both for practitioners and
arbiters of visualization. Selecting works of art according to Logos, Ethos and Pathos will
contribute and enrich the larger discourse on the nature and relevance of art that so many artists
and scientists continue to actively map out for future generations.

Jean Constant
06-2009
(Revised 2011, 2019)

REFERENCES

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© 2011. Hermay.org

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