Felt in light
Philosophically a concept is a mental abstraction that generalizes and extends knowledge from some familiar memory objects to others unknown. It amalgamates two or more particulars into a singular mental aggregate. Attempting to conceive of non-conceptual thinking is unavoidably conceptual. Nevertheless, non-conceptual cognition shapes an important aspect of aesthetic processing.
“Perceptual experiences have a richer phenomenological character than one’s conceptual resources need allow.” – Michael Martin
Initiated from appearances, the synthesis of imagination has several necessary temporal elements: the synthesis itself and the mental associations required for executing the fusion. It therefore demands the capacity to retain earlier perceptions as abstract entities in such a way that certain newer representations can combine into a single or unified entity.
“Psychologists have hitherto failed to realize that imagination is a necessary ingredient of perception itself.” – Immanuel Kant
Splendor of being
Creative intuition is intelligent in harmonizing a hidden internal mentality with an apparent external reality. The art is literally embedded in the process, directed toward concrete existence as connatural to the soul infused by a given emotion. Proceeding from the perceptual imagination of the spirit, artistic work avails reason to arouse self-awareness. Emotion received in the free imaginative pre-awareness of the intellect becomes intentional and intuitive as the subject awakens to itself.
“The creator in art is he who discovers a new type-analogy of the beautiful, a new way in which the brilliance of form can be made to shine upon matter.” – Jacques Maritain
Do aesthetic opportunities exist independently of artistic perception, just waiting to be discovered? As an alternative, does the inclination of artistic action create the associated aesthetic opportunity? Perhaps these two modalities can be reconciled through connaturality. Knowledge becomes the reassurance of certain repetitive circumstances, in which habitual things and events, not part of our inherent design, become ingrained.
“Rectitude of judgment can come about in two ways: on the one hand, by the impeccable [perfectum] use of reason: on the other hand because of some connaturality with that which one is about to judge.” – St. Thomas Aquinas
What is shown
In the light
Imagination is the gift that germinates creative thoughts and bestows surprise in the mundane. Allowing for focus only on an idea while excluding everything else, sharp angles accrue in the speculative corner of the mind. Through imagination, things are created.
“One knows much more often what one wants than how to attain it.” – Wassily Kandinsky
At every time
Making hard choices in the grocery store, while surrounded by colorful packaging that presents objects of philosophical concern, we fit into our historical timelessness.
“Content may be lost in temporal transit.” – Arthur C. Danto
Abstract general design
Another dream full of metaphysical awareness plays out on a warm afternoon, as concepts synthesize into ideas. Aesthetics applies to the spatiotemporal world on such a potent occasion, especially in relation to willful movement exercised during photographic light accumulation.
“Truth is ever to be found in simplicity, and not in the multiplicity and confusion of things.” – Isaac Newton
An important role for art is to help us glimpse aspects of reality usually hidden behind expected mental representations. In this way, it is possible to expand the consciousness structure to encompass more potential experiences.
“Evolution has shaped us with perceptions that allow us to survive. But part of that involves hiding from us the stuff we don’t need to know. And that’s pretty much all of reality, whatever reality might be.” – Donald D. Hoffman
Beauty defines existence on a late afternoon at the beach, when time becomes the consecutive relationship of consciousness states gently rolling in.
“Everything that is possible demands to exist.” – Gottfried Leibniz
By accepting determinism as a fact in the physical world, do we filter everything we see through an expectation of what think we should see? Such an expectation might presum that every apparent change represents a real difference observed in time.
“In order to draw a limit to thinking, we should have to think both sides of this limit.” – Ludwig Wittgenstein