Qualia

“(Singular: quale) The subjective, phenomenological qualities of conscious experience — the ‘what it feels like’ aspect of perception and sensation. Qualia are the immediately apprehended sensory experiences, such as the redness of a sunset, the sharpness of a sour taste, or the warmth of sunlight on skin. They are not easily reducible to external physical measurements and are often discussed in the context of the ‘hard problem’ of consciousness — how and why subjective experience arises from physical processes.

The philosophical exploration of qualia gained prominence in the early 20th century, particularly through the work of philosopher C.I. Lewis, who introduced the term into English-language philosophy. However, the roots of the concept trace back to earlier empiricist and phenomenological traditions, including the writings of John Locke and later explorations by thinkers like Bertrand Russell. Qualia have been central to debates in philosophy of mind, notably in arguments about the limits of physicalism, such as Frank Jackson’s famous ‘knowledge argument’ — illustrated through the thought experiment of Mary the Color Scientist, a researcher who knows all physical facts about color vision but has never experienced color herself. Upon seeing color for the first time, Mary gains a new kind of knowledge — experiential knowledge — suggesting that qualia cannot be fully captured by physical explanations alone.

In visual art, the notion of qualia is highly relevant because artworks often aim to evoke or manipulate particular subjective experiences. Understanding qualia highlights the difference between an artwork’s physical properties (intrinsic attributes like hue, value, texture) and the internal, personal experiences those properties evoke in a viewer. While material structure can be objectively described, the qualia associated with encountering an artwork remain inherently subjective and individualized.”

Quality

“The distinctive attributes, characteristics, or properties of an object, experience, or phenomenon. In different disciplines, the term can carry specific nuances:

In visual art and perception, quality often denotes observable or experienced attributes such as color, texture, brightness, edge behavior, surface modulation, and spatial dynamics. These qualities contribute directly to how a viewer organizes, interprets, and emotionally responds to visual stimuli.

In psychology and philosophy of mind, quality can refer to subjective sensory experiences — closely linked to the concept of qualia — emphasizing the internal, felt properties of perception (e.g., the sharpness of a sound or the hue of a color).

In scientific, aesthetic, and evaluative contexts, quality also encompasses the assignment of value based on observed characteristics. Here, ‘quality’ reflects a judgment of relative excellence, significance, authenticity, or fidelity according to specific standards or goals.

In artistic practice, understanding and manipulating visual qualities are central to effective image construction. Qualities are not merely surface features but play a critical role in guiding attention, establishing hierarchies, creating mood, and reinforcing structural coherence. Differentiating between intrinsic qualities (directly perceivable attributes) and extrinsic assignments (culturally or contextually assigned assessments of value) is essential for both critical analysis and intentional creative practice.”

Quintessential

“Representing the most ideal, pure, or definitive example of a particular category, quality, or concept. In both general and specialized contexts, something described as quintessential is seen as embodying the defining attributes or essence of a class or type with exceptional clarity.

In artistic and cultural discourse, a work may be considered quintessential when it most strongly captures the essential characteristics of a style, movement, or individual’s oeuvre. This designation is often informed by both intrinsic properties (e.g., compositional features, material choices) and extrinsic properties (e.g., historical significance, cultural resonance).

Quintessential is similar to, but distinct from, both Prototype and Archetype: While all three terms describe central or significant examples, their emphases differ. A prototype refers to the most typical or representative member of a category, grounded in perceptual and empirical patterns (e.g., a robin as a prototypical bird). An archetype refers to a universal symbolic model derived from shared human experience and cultural narratives (e.g., a bird symbolizing transcendence or freedom). In contrast, the quintessential example emphasizes the ideal or purest embodiment of a category’s defining qualities, often carrying an evaluative sense of superiority or completeness.”