Editing Objectivism (section)

=== Aesthetics: metaphysical value-judgments ===
{{See also|Romantic realism}}
The Objectivist theory of [[art]] derives from its epistemology, by way of "psycho-epistemology" (Rand's term for an individual's characteristic mode of functioning in acquiring knowledge). Art, according to Objectivism, serves a human cognitive need: it allows human beings to understand concepts as though they were [[percept]]s. Objectivism defines "art" as a "selective re-creation of reality according to an artist's metaphysical value-judgments"—that is, according to what the artist believes to be ultimately true and important about the nature of reality and humanity. In this respect Objectivism regards art as a way of presenting abstractions concretely, in perceptual form.<ref>{{harvnb|Peikoff|1991|p=417}}</ref>

The human need for art, according to this idea, derives from the need for cognitive economy. A concept is already a sort of mental shorthand standing for a large number of concretes, allowing a human being to think indirectly or implicitly of many more such concretes than can be kept explicitly in mind. But a human being cannot keep indefinitely many concepts explicitly in mind either—and yet, according to Objectivism, they need a comprehensive conceptual framework to provide guidance in life. Art offers a way out of this dilemma by providing a perceptual, easily grasped means of communicating and thinking about a wide range of abstractions, including one's metaphysical value-judgments. Objectivism regards art as an effective way to communicate a moral or ethical ideal.<ref>{{harvnb|Peikoff|1991|p=422}}</ref> Objectivism does not, however, regard art as propagandistic: even though art involves moral values and ideals, its purpose is not to educate, only to show or project. Moreover, art need not be, and usually is not, the outcome of a full-blown, explicit philosophy. Usually, it stems from an artist's ''sense of life'' (which is preconceptual and largely emotional).<ref>{{harvnb|Peikoff|1991|p=426}}</ref>

The end goal of Rand's own artistic endeavors was to portray the ideal man. ''The Fountainhead'' is the best example of this effort.<ref>{{harvnb|Barr|2012}}</ref> Rand uses the character of Roark to embody the concept of the higher man which she believes is what great art should do—embody the characteristics of the best of humanity. This symbolism should be represented in all art; artistic expression should be an extension of the greatness in humanity.

Rand said that [[Romanticism]] was the highest school of literary art, noting that Romanticism was "based on the recognition of the principle that man possesses the faculty of volition", absent which, Rand believed, literature is robbed of dramatic power, adding:
{{Blockquote|What the Romanticists brought to art was the ''primacy of values''... Values are the source of emotions: a great deal of emotional intensity was projected in the work of the Romanticists and in the reactions of their audiences, as well as a great deal of color, imagination, originality, excitement, and all the other consequences of a value-oriented view of life.<ref>"What is Romanticism?" in {{harvnb|Rand|1971}}</ref>}}

The term "romanticism", however, is often affiliated with emotionalism, to which Objectivism is completely opposed. Historically, many romantic artists were philosophically [[subjectivist]]. Most Objectivists who are also artists subscribe to what they term [[romantic realism]], which is how Rand described her own work.<ref>{{harvnb|Torres|Kamhi|2000|pp=31–32}}; {{harvnb|Holzer|2005|pp=115–125}}</ref>