The aestetic understanding of death

“De dood is een feest, omdat wij alleen maar aan het leven kunnen denken.”

The large world of superseding emotions demands from us to formally abide to social expectations of behaviour, to stop thinking and sympathize, even if the principle of superseding emotions is to be rejected and the souvereignty of the self to be accepted as the dominating principle of western culture and of individuation itself. This inconsistency is upheld with a blunt socially repressive strictness.

The average person can only create a restricted line of dependencies. This is because it is closely related to the phenomenon of psychological fixations, which exclude one or the other of two choices. These exclusive fixations though need to be resolved, in order to discover the true and disinterested aesthetics of the world. However, most people function in a constant web of social dependencies, which emotionally settle in an unmanoeuvrable solidity of formal behaviour. The ratio, in general, is but a weak blow to such concrete structures of the mind. Especially, in small social groups and communities like a rural village or a virtual parallel to it, a weblog community, this small size expresses itself literally, and could fairly be labelled as small-minded.

Death is for most people a traumatic experience, as it goes against the concept of our consciousness. To be or not to be is never a question, to be is the evidency, not to be the impossibility. Death becomes a purely abstract concept.

For those who have personalized their emotional responses, that is, whose response constitutes solely a response to the penetration of their direct social environment, death especially has a parallizing effect. Only those few who are able to generalize their emotion can embrace a more rational and eaesthetic understanding of death. It is the great paradox of beauty, that our emotional dependence of it can only be utilized completely if the personal dependencies to it are resolved.

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