Reflection 198: Of Heroics & Aesthetics

April 15, 2010

(Copyright © 2010)

I am ever the hero of my own little drama as I act it out in my head. It can’t be otherwise because I am the author and sole interpreter of the script as it is revealed to me (that is, as I make it up minute by minute). My life is a performance of my story, first concocted in my head, then performed on the virtual (from my point of view) stage of the unknowable world. Picture me behind the door of my mind—the one with the star—posing in my dressing gown before a full-length mirror, mouthing the words I am rehearsing for the grand performance I’m to give in a few moments. If you were lucky, you’d be in the audience. Too bad you can’t make the show because you are rehearsing your own performance before your own full-length mirror in a different dressing room, also with a star on the door.

We are heroes to ourselves because we can do no wrong. Even when we commit stupid or cruel acts, we are automatically off the hook because, no matter how others see us, we appear blameless to ourselves. Self-interest is our only motive, so by definition we have to be right because we can always justify what we do. It is they, those others, who are at fault—they just don’t understand.

Each a hero in her own eyes; what a wonderful system. Perfection itself on two legs, facing the world, looking about for yet more heroic labors worthy of our talents and strengths. Whatever feats others may perform, we can do better. Why waste time pretending to be modest if in all honesty we’re the greatest? I mean, what-is-the-point? Wink, wink; nudge, nudge. If corporations ever got on to the power of categorization so they were able to set the terms in which we all see the world, there’d be hell to pay.

If we manage to do no harm by living our span to the fullest, then a self-assertive life such as I have described in those first three paragraphs amounts to a comedy. But despite our good intentions, we are never as innocent as we claim. Others do without basic necessities so that we may live higher on the hog than they can imagine. Eyes straight ahead, we are only dimly aware of the ruin in our wake. With an automobile, I have killed pheasants, dogs, cats, frogs, salamanders, butterflies, dragonflies, and thousands of others. I have been trained as a killer by the U.S. Army; I don’t doubt that my training was successful on occasion, even well after the fact. But there I go again, blaming my training, while the true killer is the self that I am whose hungers demand to be fed.

Our myopic perspectives and insatiable appetites render life more tragic than comic. Think of the innocents slaughtered in our name (beef cattle, chickens, pigs, goats, and thousands of plants, many of which bear genes similar to our own). We live at far greater expense than we know or choose to bother ourselves about.

All because we categorize and sort the world for personal gain as we imagine it, without consulting others in advance. Selfish and glib, that’s what we are. I know, I am one who has shaped the world to his advantage as long as he can remember. Not deliberately or knowingly, perhaps, but effectively that is how I have lived my life. Following my nose, which means following the dictates of self-interest and personal advantage. The difference between me following my nose and Bernie Madoff following his is he’s in prison and I’m not. Or if I am in fact behind bars, those bars are the steely cage around my consciousness, armoring the very wits by which I survive.

I use such imagery to describe the categorizing aspect of consciousness because we cannot avoid casting our most self-serving concepts upon sensory patterns representing what we can know of the world. With the exception of messages from great corporations, those phenomenal patterns do not come to us presorted and pre-categorized; it is we who bend them to our purposes by seeing them from our unique points of view as recorded in our personal histories of concept formation, cleaned and gutted of telling details, hollowed-out for general utility later on, leaving only husks, not the essence. Categorization—recognizing the “true” nature of things—is not an impartial act; we are invested in what uses we can make of a thing for our personal advancement, so bestow categories on it that will serve us well later on. A spade is not just a spade nor a rose simply a rose; in each case they are functionally what we make them out to be. A spade can kill, a rose ingratiate us with others who will owe future favors.

Machiavelli didn’t come out of the blue; he was the product of his own urge to survive. So, too, de Sade. And Sun Tzu, author of The Art of War, who wrote, “All warfare is based on deception.” I say all survival is based on deception, particularly of the self. To us, our miscategorizations always appear fair and just. The self is in full command of its resources and does not submit to casual scrutiny. You have to infer its self-deceptions from its actual deeds. That makes it all the easier to confound its dictates with truth or reality, subject of my last post (Reflection 197: Backing Off).

Our entire neural apparatus intercedes between the self and its grasp of the world. Our senses don’t deliver the world-as-it-is to our doorstep, they bring us images transduced and reformulated by our sensory system—the world being at least once removed as translated into the neural language of action potentials and flowing neurotransmitters. Which memory scans for familiar patterns in order to categorize what we hear (see, touch, taste, smell) in terms of concepts made meaningful by prior experience. At every step of our life journey we reinvent ourselves and the situation we’re faced with based on patterns we’ve encountered before and the concepts we’ve derived from them. The world as-it-is-in-itself never enters our minds.

No matter how subtle, most categorizations are heroic distortions for personal gain in being consistent with biological values inherent in the self—namely you and me. Our meanings lie ready, waiting to seize on familiar neural signals. The perceptual side of consciousness is concerned with sensory patterns and relationships, and so is more cordial in being ruled by curiosity about, and interest in, what’s out there than by survival at any cost. Categorization answers questions raised by curiosity about the world, but personal aesthetics first decide what’s relevant and what isn’t. I don’t mean aesthetics focused solely on beauty; I mean picking up on sensory patterns and relationships apart from any meaning they may have for us. That is, sensory signals as not yet—but soon to be—recognized and categorized. Such as the tonal makeup and rhythms of a familiar voice or piece of music; the shape, size, color, and motion of a familiar bird; the feel of our fingers wrapping around the steering wheel of our family car; the scent of Spanish rice as Mother used to make it.

The mapping of categories onto sensory patterns, and vice versa, are two of the major achievements of consciousness. Experience and awareness meet in constituting a current moment of engagement with our world. The salience or relevance of the signal can be in attention or memory, but categorizing a sensory episode as a meaningful experience is our doing in either case. We are fulfilled in being simultaneous pattern detectors and categorizers in that moment. When our personal histories coincide with the sensory now, we are on familiar ground and know our options for making an appropriate response to the situation we’re in. The past claims the now, moving our heroic-aesthetic self one notch toward the future.

We are so quick to draw categories from our quiver, we come to think sensory patterns come to us with meanings attached to them, as if they were meaningful in and of themselves. But even if we are in our everyday mode of categorization, we are the ones responsible for bringing sensory inputs and conceptual meanings together. The meaning isn’t in the music or the image, it is in us. Always in us. If the sounds of Beethoven’s Fifth Symphony pour out of the radio and there’s no one to hear it, then the sounds go unrecognized, and the radio may be turned on, but Beethoven’s Fifth is not playing. If the sensory-pattern recognizer and categorizer is absent, then for all practical purposes the moment is lost. Think of a car skidding off the road, hitting a tree, killing the driver, with the radio playing relentlessly to his unhearing ears and lifeless body. Is the radio still playing? To one discovering the scene, perhaps, but not to the late driver.

Categorization takes time—on the order of a few tenths of a second. It is possible to live in the gap between pattern reception and the act of recognition that fits it to a category. We can prolong that gap as long as we please by focusing solely on sensory patterns and their internal relationships, dispensing with conceptual meanings as irrelevant—as we often do in listening to music without words, scanning the surface of a painting, savoring scents on a damp day in fall, and walking in woods or along the shore—giving ourselves to our surroundings instead of claiming to know them in advance.

As a photographer for the Information Service at Iowa State University in 1960, I used to photograph boxing matches and basketball games, giving my total attention to the action in the ring or under the basket. I was so engaged in my personal zone, I lived to anticipate what was about to happen because if I waited to find out, it was too late to click the shutter. Peering at the scene through the viewfinder of my camera, living in that space, when the match or game was over, I had to ask to find out who’d won.

Yes, sounds dumb, and it was because I had no use for speech and meaning. Just as when I visit galleries and avoid reading what the artist says about a painting or photograph, or even the label of what I am looking at. I don’t want titles or grand ideas, I want the visual experience, which the title or blurb takes away from me so that I know about the image without experiencing it for myself. In such a case, words are not the issue. They are someone else’s categorizations, and I have no interest in them. Later, perhaps, but not now. Not till I’ve pushed the experience as far as I can take it, exploring the image, noting the colors and their relationships, textures, shapes, angles, brushstrokes, making the image live in me so that I have a personal acquaintance with it. That way, I still see the world through my own eyes. Maybe later, I’ll bother to read what someone else has to say about it.

I still recall being disappointed when I led a group of eleventh graders on an excursion through woods where I wanted them to learn about their natural surroundings by touch, smell, sound—any way but sight (see Reflection 149: Blind Walk). Pairing up, one partner was to assure the safety of the other who, blindfolded, explored her surroundings by hand, ear, and nose. But despite my instructions, everyone made a guessing game of the exercise, the presumed object being to shout out the name of each object encountered. For them, the name said it all; sensory experience was beside the point. Which, I realized sadly, was the result of the schooling we run our children through in making them dutiful inductees into our culture. The label—the right answer—is of the essence; personal experience is not part of the curriculum. I was trying to awaken my students to sensory details they could use to enliven their writing, but had to work harder than I planned to get that message across.

Listening to music without words is one of the best ways I know of to experience the pre-categorical, sensory aspect of consciousness. Jazz and classical music work equally well; ballads less well because the words steal the show. The trick is to give yourself to the notes themselves as they rise and fall in time, noticing their duration, their tonal relationships, the quality of the different notes, the interacting voices of the instruments, echoes and repetitions, larger or smaller leaps than you expect, comparing where you think the music is going to where it actually leads, and so on. That way, you make each piece your own because you have lived inside it in your own consciousness, not merely followed along at a distance.

Abstract painting is a great medium for exploring visual relationships between different shapes, hues, values, textures,  sizes, and orientations of patches of color. It is such Thank you, Franz Klinerelationships that turn different patches into patterns of visual stimulation, elevating discrete sensory differences into an overall design which holds together because its internal workings add to something larger than themselves. Faced with an abstract by Franz Kline, for instance, seen from the right distance, the eye never stops ricocheting around the surface, darting to every corner in search of the next salient feature, knitting the parts into a stimulating and satisfying whole. Don’t take my word for it, words are irrelevant. Just give of yourself in free exploration and see what you find.

If we don’t explore sensory patterns before we categorize them as this or that, we may lose the opportunity because habit is apt to take over and short-circuit fresh perception altogether. I have mentioned in an earlier post the distinguished historian of science who put a print of Picasso’s Guernica over his desk—and never saw it again. We have to make a deliberate effort to notice sensory patterns when we have the chance, or they may well disappear as so much cultural wallpaper. I remember staying home from school as a kid because I was sick, and getting so tired of hearing the same old chestnuts favored by radio stations in Syracuse—in those days The Sorcerer’s Apprentice and Rhapsody in Blue—that I still associate them with canned chicken soup and ginger ale. Try to really listen to Ravel’s Bolero and see how long you last.

No frill to me, aesthetics is the high art of noticing. Of really paying attention to sensory details wherever I find them. Of giving myself to life in order that life will give itself to me. When I don’t make the effort, life glides right past me like so many telephone poles by the side of the road. This is what I mean by “being there,” putting my values where my body is so that I engage what is truly going on from my personal perspective. Sensory exploration is essential to getting the most out of life instead of glossing it prematurely with a dismissive categorization. Seen one, seen ‘em all. No, each individual being or event is unique in the world, and must be experienced to be appreciated. If we are bored with life, we are bored with ourselves for not taking the initiative to first give of ourselves to our surroundings in order to elicit their response.

At the dentist’s office in Bangor yesterday, I read in Time Magazine the news that great things were coming to the so-called third world in the form of first-world TV shows finally getting the global audience they so richly deserve. I put the magazine down and though about the benefits of pre-packaged experiences going by so fast that they amount to missed opportunities for doing something personally significant on the local scene. 

Mass media are the enemy of human consciousness because they are meant to overwhelm us, not engage us. We can’t ask questions or say how we feel. Try writing a letter to Time or Newsweek about their opinionated coverage of world events and you’ll get back a form letter much like the one you get from your Representative or Senator saying how much your letters mean to them. As if words and categorizations were reality itself. In truth, the corporate mass media are dumbing down the world, separating persons from their individual opportunities to have local experiences.

It’s not that, as the voice of corporate America, the media pre-package experience so much as that they pre-digest it for us, too, so there’s nothing else for us to do but sit and watch flat screens the evening through after working all day in a cubicle watching other flat screens. We should be out raising flowers and vegetables; watching birds, spiders, and insects; milking cows; hiking or swimming in the wilds with our kids; using our minds to make something of ourselves instead of letting the corporate media remake us to suit their agendas. For-profit corporate personhood is an assault on the Earth and all forms of life. Corporations are not alive, and know nothing about living beings. Their sole purpose is to make money for their owners, which they do at the expense of not only their owners themselves, but of all living beings.

Heroic conceptual categorizations laid on us by corporations doing our thinking for us, coupled to lazy sensory-pattern detection on our part, is leading us all down the primrose path to global catastrophe. The solution is to reclaim personhood for those who are still individuals among us, destroying the very idea of mass media in the process. The only media that work are intended for individuals, not the masses. We will never do better than face-to-face conversations, personal letters, or phone conversations. That way, we reserve categorization to ourselves as called forth by the aesthetic patterns we discover in daily experience. Once we forget how to do that, the end is not only near, it is behind us, leaving nobody to listen as the pretty music plays on.

Squash blossom soon to unfurl

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One Response to “Reflection 198: Of Heroics & Aesthetics”

  1. […] This post was mentioned on Twitter by WilliamHarryman. WilliamHarryman said: Reflection 198: Of Heroics & Aesthetics « CONSCIOUSNESS the inside story http://ff.im/-jbXT4 […]

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