@jeporcher
Please don’t think me saying the argument is stupid when I say this; it is very well appropriate and makes sense in religious apologia.
But from my perspective I think your first premise has the operation quite backwards.
What if we conceived the aesthetic experience as precisely explanation upon reality, just as physics provides “explanatory” models and figures? It seems to me that this conception of aesthetics if followed fully through delimits art’s subject matter entirely to mysticism or transcendental reflection, but also weirdly isolates aesthetics away from the precise self-consciousness that at least proximately occasions it and certainly looms the requirement that a rock out there is having an aesthetic appreciation of the moss abreast it. Snarkily (but In good fun!): if a tree falls in the forest, but no one is around to hear, is that god playing music?
Of course, If you’re willing to go down pantheism panpsychism fully then I’m signed on already to an extent of definitions, but if you’re about the personal god, the statesman god, the out of world god, idk I don’t think this does much for the explanatory power of this monotheist conception of God and yet also obscures aesthetic experience as precisely a function of having consciousness flit between relational experiences.
I’m scared that this has come off as overly polemic; I’ll end with a question: how does this argument make cohere classic monotheisms aversion to idol worship ? If Gods creativity in fashioning profoundly arresting objects is a throughline hermeneutically to Gods existence, shouldn’t he be well on board in seeing the artists intention in the golden calf? Or is his creative work not in the golden calf? Then god isn’t the all fashioner, but demiurge artist who thinks he’s entitled to an appreciative audience?
Much love this just touched me to respond because the notions of both aesthetics linking back to reality as well as “explanation” as a verbiage are my personal research interests.