You're a wizard, Josh.

Welcome to Hogwarts, the school of Witchcraft and Wizardry. Where I explore what in the world is going on.

Aesthetics are important to us, we crave the proper aesthetics. Why?

Aesthetics are so important because they are a means of communication?

All styles, colours, words, sounds, etc. all have baggage, AKA associations. We tend to stitch ourselves into thinking these associations don’t play a big role in our contemplation/understanding/action for a given thing, but we’re wrong. I believe we stitch ourselves here because when we are holding a specific concept in our current conscious thought, we do only think of the word which encapsulates that thing, even if we can on command think of the associative concepts around a word, we still are only thinking of one at a time. This one-at-a-time thinking trips us up into thinking the aesthetics, the individual features, are thought of one at a time, this is wrong.

If I say “Dog”, then think about words that pop up in my mind around “Dog” I think of “Collar, bark, pet, fur, hairy, dirty, whiny, cuddly, derpy, wonderful etc.” I have no problem thinking of those associations, but they are indeed one at a time. We are wrong that the communicative aesthetics of an object do not powerfully determine how we think about said object because we do not, in fact, think about the world in this one-word-at-a-time way. I believe, if we did, we would be quite robotic. This mistake is most likely due to our training and emersion in a scientific and empirical culture. We are trained, through rigorous education, to split things up and categorize the world in order to understand things and manipulate them. This division of things, this training, has distanced us by how we instinctively put together our world. In reality, our worlds, our minds, our thinking, our whole life, is a story.

We have the ability to instantaneously create fictional worlds and scenarios in our minds. Our imaginations are unbelievably powerful, and they are running all the time. We are constantly in a story, at centre stage as the protagonist, with problems and desires, threats and promises. Our stories are incredibly well conceived of in our imagination. We tell ourselves our story, we have stories about other people, we have stories about the world, all of which are in narrative form, just like a novel. All of our thinking is story-like, no matter what. It doesn’t matter if you’re doing math, your story is about how you’re doing math, and the way that you’re doing it, and why you’re doing it, or how much you hate it, or whatever, the point is its a story.

Now back to the associations, we think they have no power because we can conceive of them as individual concepts, because we can break them down and understand them, and on a closer level of resolution these associations do hold no power. But, on the aesthetic object’s level of resolution, the level which the object is supposed to be observed at, it is conceived of as whole. And as a whole, with all of its particular parts intact, it gains immense power. It really is simply magical, but why? The reason is, because when we are toying around with the object and determining its place in our story, all of the associations around the object are instantly and totally comprehended. The object is no longer a sum of particulars, the object is now in our world, in our minds, in our story, and in our story it is being tested. What is this objects utility? What can I do with it? The aesthetics communicate how it wants to be interacted with. All of the associations around the object show up full force in our imaginary plane.

Once an object is in our imaginary plane, in our story, there is no supressing the associations, the object comes alive and tells you where it belongs. This is magic, this is wizardry. Manipulating the associations of an object, manipulating its communicative aesthetics, is magic. We have the power of magic at our finger tips, we have the power to mold and shape the world through communicative aesthetics. We have the power to give life to objects, to how they’re perceived, and thus how they are interacted with and fit within others lives and the world. If the aesthetics of an object are off, or weak, then most likely that object will have no place in our story. If the aesthetics of an object are strong, or in other words in a particular direction, then of course the object has a place in our world, or at least, in someone’s world.

There are cars out there that scream – drive me like a son-of-a-bitch, and there are cars out there that prattle in a high pitched voice – I’m so tiny and dinky but I’m good for the environment and wallet.

What will you communicate? How do you want to fit in others’ story? How do you want to be interacted with? What objects will you give power to? How will you shape your world?

Hustle It Up.

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