Because it is useful to act “as if” there is truth, we tend to accept certain propositions univocally. Yet truthful perception of reality necessarily embodies vague meaning determined without precision. Mental intervention is unavoidable and dependent on fuzzy memory compared with present experience, formulating coherence. Meaningful expression interpreted in different ways represents freedom, as fictions are all-pervasive in discursive thought, facilitating ideational capacity.
“Many thought processes and thought constructs appear to be consciously false assumptions, which either contradict reality or are even contradictory in themselves, but which are intentionally thus formed in order to overcome difficulties of thought by this artificial deviation, and reach the goal of thought by roundabout ways and by paths.” – Hans Vaihinger
Conditions of disclosure
Vending machines residing on the subway platform interrogate concealed essence in its ambiguous uncertainly. Paths that lead nowhere, all component parts must be individually understood to comprehend the whole. However, without embracing the unity of the absolute whole, the individual parts cannot be fully comprehended. Passing through the station on the way to no place special, an epistemic condition demands a circuitous hermeneutic interpretation.
“The point is to discover the thingly character of the thing. To this end we have to be acquainted with the sphere to which all those entities belong which we have long called by the name of thing….. [including] a thing that does not itself appear.” – Martin Heidegger
Remaking the world in the image of man, matter is in accordance, relating to existence. Radical thinking goes to the essence of things, as truth pops up in all walks of life. Art provides relief against many dehumanizing forces, indirectly working towards unconcealment. Getting behind appearances, common sense is superficial while linguistics is necessarily removed. Everything must become what it is. Truth is driven back to the human subject.
“Thinking only begins at the point where we have come to know that Reason, glorified for centuries, is the most obstinate adversary of thinking.” – Martin Heidegger
Freudian dreamwork uses symbolism to disguise its alleged real content, while the artist uses imagery to reveal a previously unseen vision. The ability to produce art without conscious mediation is a useful process nurtured by numerous workers. Often aesthetics finds its way when an unconscious progression erupts into awareness.
“Imagination is the real and eternal world of which this vegetable universe is but a faint shadow.” – William Blake
Divergent reasoning synthesizes a number of simultaneous perceptions, opening up the possibility of original comprehension. Creativity includes a necessary destructive component, since the conventional mold is rejected to formulate something new. Perception pulls in itself a principle of order and knowledge.
“In perception we do not think the object and we do not think ourselves thinking it, we are given over to the object and we merge into this body which is better informed than we are about the world.” – Maurice Merleau-Ponty
Are energy and matter the only fundamental realities of the universe, or does consciousness transcend physical systems? This question seems central to an aesthetics that moves beyond the limits of conventional understanding. Transmuting an inner subjective realm into external reality, creativity manifests an invisible component. Originality emerges from nothing.
“If the nothing itself is to be questioned as we have been questioning it, then it must be given beforehand. We must be able to encounter it.” – Martin Heidegger
That which is unknowable resides in a state of nothing. Creativity seeks the extraordinary that paradoxically hides embedded in the commonplace. Conjuring an object into existence from out of apparent nothingness seems an essential component of mental processing. The aesthetic act involves boundary shifting, tapping unconscious processes to formulate new synthesis unifications.
“The poet makes himself a seer by a long, prodigious, and rational disordering of all the senses…. during which… he arrives at the unknown!” – Arthur Rimbaud
The classic philosophic argument goes that those things that exist outside of our capability to perceive must remain unknowable. Thus, sensation and perception mark the distinction between phenomena and noumena. Even if this stipulation is accurate, however, it is evident that modifying perception could change the dynamics of understanding, making things previously unavailable accessible. The potential of art to alter perception is its very power.
“Our knowledge of the phenomenal world is a partial knowledge of the world as it is in itself.” – Thomas Nagel
Aesthetically approaching human collective behavior as just remarkable phenomena changes the dynamics of participation. Into an Istanbul market-stall, piled high with futile merchandize, the angst of late-capitalistic western culture ironically permeates. Authentically being in the world is to formulate individual values interactively, rising above the herd.
“Among peoples of a strange language did I dwell, with stopped ears: so that the language of their bartering and their bargaining for power might remain strange to me.” – Friedrich Nietzsche
Completely unforeseen intellectual interests emerge from an investigation into aesthetics. Perhaps it is from an expression of feelings, situated in a multitude of embedded contexts, which meaning may emanate. Alternatively, the indirect innuendo implied by aesthetic mystification offers an opportunity to think about existence differently. As the artist performs art, a sort of Husserlian “bracket” supports a philosophical practice in which certain aspects of normal experience are perceptually suspended.
“Visible and mobile, my body is a thing among things; it’s caught in the fabric of the world, and its cohesion is that of a thing. But, because it moves itself and sees, it holds things in a circle around itself.” – Maurice Merleau-Ponty