Inner Aesthetics

Aesthetics. The philosophy of beauty is one that has held an important role for humanity as far as history goes back; our quest for beauty of forms and balance and debates on that which constitutes it are some of the most well established debates in human history. All of us partake in aesthetic debates; there are simply levels of awareness of this fact. When we debate which colour suits the mood best or whether to wear this or that to such and such event we are debating aesthetics. We are all philosophers of beauty, even those of us with a Laodicean view of such. We will always perceive beauty or a lack thereof in that which we see. We will never be fully detached from the inherent aesthetics of that which we perceive and how it clashes with our internal aesthetic temperament (that is to say, our preferences regarding beauty). We are simply not always aware of it, and we view the majority of things as “themselves” aesthetically. That is to say, we view objects in and of themselves and rarely consider them in a broader way that takes into account its relation to the broader world of aesthetics; we simply see them for what they are, without viewing them as beautiful or not, simply themselves. Those of us who care about fashion are those who no longer view clothing in the lens of simply being itself; we view it as an expression of our aforementioned aesthetic temperament, no longer an object that has no inherent beauty (or lack thereof). Those who are photographers are those who view the entire world for its aesthetic qualities¹; this is not to say that they view everything as inherently beautiful or not, but simply that they are aware of aesthetics at all times and waiting for when the lighting is one that paints an object in a light that aligns with the aesthetic temperament of the photographer. We all, to some degree, function in this way, but many times this is either pure logic (“this is a picture of desirable forms that people would like '’) or purely emotional (’’this picture means a lot to me”). Being in touch with the aesthetics of images at all time is to combine the two;’ we take into account aesthetic principles regarding subjects and composition and lighting and whatnot and apply them to situations of emotional importance (emotional is not to say anything rather than striking in the sense of how it impacts you; it need not be something with an emotional attachment, but simply something that draws some sort of emotional response). This is not to say that this view is inherently better, but simply that this awareness of aesthetics is one that will allow us to view things in a much different light. However, simply because we hold an aesthetic value system regarding photography (and the way in which this affects everything) does not mean it is transferable. Simply because we have an aesthetic temperament regarding clothes as they pertain to photography does not translate to one regarding clothes as they pertain to fashion. We can be aware of aesthetics in all facets of life or in none; this does not make us more or less an aesthetic philosopher; there are just schools of thought regarding it. Many philosophies of life and ethics have built in aesthetic tenets, and this is the same for anyone who values aesthetics and those who do not. The way we relate to them reflects our opinions on them; one who does not care simpoly does not value them or their aesthetic temperament. However, I challenge you to find someone who is able to complete;a separate themselves from all aesthetic considerations; whether they act on them is another thing.

¹ The distinction between amateur, casual, and professional is another one, but for the following purposes we can categorize them as equal

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