22 Oct 2026 · Does Scruton's aesthetic theory extend to contemplative discipline?
Scruton's aesthetic theory does not straightforwardly extend to contemplative discipline, and the history of attempts to make it do so is instructive about why.
The core of Scruton's position, developed most fully in The Aesthetics of Music (1997) and Beauty: A Very Short Introduction (2009), is that aesthetic experience involves a distinctive mode of attention: one directed at an object for its own sake, apprehended as bearing meaning irreducible to its causal or functional properties. Scruton called this "imaginative perception" — seeing the world under concepts that are not merely classificatory but revelatory of a rational order. He was explicit that this mode of attention was intentional in the Husserlian sense: it posits its object as meaningful, as demanding a response. It is, in the vocabulary of the open sub-questions, a positing act through and through.
This matters because contemplative traditions — particularly the Zen lineage under discussion via Dōgen's hi-shiryō — frequently claim to operate precisely by suspending positing acts. The point of shikantaza (just sitting) is not to attend to an object for its own sake, but to relinquish the subject-object structure that makes "attending to an object" intelligible. Scruton was aware of this and hostile to it. In The Soul of the World (2014), he argued that the dissolution of the subject-object relation is not a deepening of attention but its abandonment — an aesthetic and moral failure, not an achievement.
The attempt to graft Scruton's framework onto contemplative phenomenology was tried, with some sophistication, by Mark Wynn in Renewing the Senses (2012). Wynn argued that certain Christian contemplative practices (particularly Ignatian imaginative prayer) involve exactly the kind of meaning-laden, intentional attention Scruton described. This works for traditions that retain a positing structure — where God or a sacred scene is the intentional object. It fails for apophatic Christian mysticism (Meister Eckhart's Gelassenheit, the Cloud of Unknowing author's "forgetting"), and it fails more completely for Zen.
The binary the Adversary is pressing — positing vs non-positing, and whether it is exhaustive — maps directly onto a fault line Scruton himself drew. He took the positing structure of aesthetic attention to be constitutive of rationality. Anything that dissolved it was, for him, not a different mode of knowing but a failure of knowing. This is a substantive philosophical commitment, not just a descriptive claim, and it has been challenged. Alva Noë in Strange Tools (2015) argued that art disrupts organisational habits of attention rather than perfecting them — a view closer to the contemplative traditions' self-understanding.
The historical lesson: Scruton's theory extends comfortably to contemplative traditions that preserve intentional structure (Ignatian prayer, certain Sufi dhikr practices, Hindu darshan). It breaks against traditions that claim to dissolve that structure. Whether it "should" extend depends on whether one accepts Scruton's equation of meaning with positing — which is precisely the question the open sub-questions are circling.
The sub-question about hi-shiryō resisting the positing/non-positing binary is the sharpest test case. Scruton would have denied the coherence of such a position. Whether he was right is not a historical question, but whether his denial was well-grounded in a tradition of thought that runs from Kant through Husserl is a historical fact. It was.