11. on the (Normal) Nonequivalence of Strongly Asymmetrical Designs and Their Mirror Images

11. On the (normal) nonequivalence of strongly asymmetrical designs and their mirror images in respect of balance, see Arnheim (1954/1966) 22-24. Analyses of the difference of artistic effect in selected art works are given by Gaffrom (1950). Empirical studies, overall somewhat indicisive, have distinguished various factors influencing impressions of balance and overall preference for a given orientation (e.g. Freimuth and Wapner, 1979 and McManus, Edmonston and Rodger, 1985). I need not assume that such designs are never balance- equivalent to their mirror-images to find the cases in Mondrian's oeuvre puzzling. Likewise the difference of balance need not normally be great. It is enough that it be noticeable in a substantial majority of cases and yet not be noticeable in the cited works. My contention is merely that the apparent equivalence constitutes reason to doubt the exactness of our balance-discrimination.

12. Here I assume that aesthetic perceptions are genuinely cognitive (and in fact I believe they are subject to criteria of accuracy significantly similar to those applying to perceptions of color). This supposition is, to say the least, a controversial one, which is quite impossible for me to defend on this occasion, or even to properly elucidate. However, the claims concerning aesthetic equilibrium in the standard commentaries are put forward as genuine perceptions and not as reports of personal impressions. My procedure is therefore in full accord with common practice. It should go without saying that I do not claim to be infallible. More interestingly, I believe that conformity with the consensus of maximal discriminators of balance under optimal balance-discriminating conditions is a necessary condition of the genuineness of a perception of balance; and correspondingly for that of any other aesthetic property.

13. This grossness would not, in my view, disqualify perceptions of balance of validity, but just limit aesthetic balance properties to the range of the best human capabilities.

14. Here I must take exception to sentiments such as those of Jerrold Levinson when reflecting upon Mondrian's Composition with Blue (1933) in "Aesthetic Supervenience" (1990, p. 150): "Confirmation of the specific effectiveness of these features in the present case can be had by imagining alterations of them and trying to envisage the effect at the aesthetic level. There will invariably be such an aesthetic effect. It would not be the same painting, aesthetically speaking, if there were minor lapses from rectilinearity, if the blue square were darker in hue or less saturated, if the square or dominant vertical were exactly on-center, and so on." This presumption, a frequent one by aestheticians (moreso than by painters) does not survive the evidence of direct experience of paintings and relevant variations. Our imaginations are in fact constantly refuted by the relevant sort of direct experience.