On the good evolution of art and nonart... What will be found by thinkers in sensing the evolutionary growth of stuff is that the directed goal the stuff seemingly leans toward is a fated determination, because all its effort is forced in that way. It is driven by the natural compulsion of disposition and inclination. Its tendencies in the way it leans are bents that can be none other than what they do seem to be. What is discovered by sound inquiry in satisfaction of just curiosity is the presence of traits and trails and trials or trends that are innate and inborn or instinctive and intuitive. Phenomenal stuff in the form of matter or life continues to exist as it does by the mere action of feeling and the sheer habit of conduct, which habit becomes embodied and engrained and embedded in the stuff as a natural law of regularity. The habitual law becomes endowed in the stuff. The direction and completion then becomes fixed by insistence and persistence, even though some exploratory paths along the main route may be found wrong or bad or even evil. If the stuff is at all viable in steering and staying the course, it will tend to bear or yield or have the ability to correct its own errors, and get back on track. Any obstacle in the way will be overcome by its taking the route of least resistance, by stopping or retreating or overtaking or bypassing or even dissipating. If the best direction is maintained and the best completion is attained, then the evolution of stuff is ideal and right and thus good. The prescribed fated determination is not an origin or source or cause, but rather is a limit and ground and margin. It is not an accidental spontaneous generation, or a rigid mechanical creation, or a deliberate nominal notion, or an arbitrary mental invention. The cause of purpose in stuff evolving is admittedly teleonomic design, but the agent of design is a natural disposition. Stuff tends to act out of habit in the best way it can, because it should. The relation between the stuff and the goal is given uncontrolled to sense, which relation is found to be a natural disposition and a habitual determination. The evolution of stuff is fixed by fate, and not by god or man.
In applying this pragmatist theory of evolution to aesthetic and artistic concerns it may account for the why and way of artists in the making of their artworks. The changes in the growth of artists and in their artworks often seems to be out of their own irritation and frustration with the current state of their actions, which does not yet satisfy their needs. The direction they take to resolution may however be other than a conscious deliberate decision. The errors and falsities that arise in exploring aesthetic and artistic paths that were not foreseen or projected may even stimulate the artist into taking unplanned alternate ways to get back on the track of finality. In keeping with the tendencies of evolution, that finality as a good end goal may yield results that can rest at a stage that is either settled or completed or finished. In other words, a good final work may be settled but incomplete yet finished, or settled and complete but unfinished; although in any event still manage to satisfy the realist tenets of pragmatist evolution.
