When I initially received the assignment ‘The Box of Uncertainties,’ the concept of ‘being’ immediately sprang to mind. Despite acknowledging the potential for ‘being’ as a mundane and commonly explored topic due to humanity’s struggle to clearly define it, I resolved the muster the courage to make it the focus of my research. I recognised that to delve into what truly perplexed me, I needed to confront this seemingly ordinary subject. Thus, I embraced the challenge with determination and embarked on my exploration of ‘being’.
At times, the concept of ‘being’ may appear deceptively simple, yet it embodies a complexity that surpasses any other. From a young age, I harbored aspirations of being an independent grown up. However, a friend once imparted to me perspective that challenged this notion, asserting the impossibility of true independence. According to him, human existence relies on the act of witnessing, wherein individuals affirm each other’s reality through whispering. Witnessing, by its very nature, lacks intentionality and occurs post-event, akin to seeking witnesses following an incident. In this framework, one validates another’s existence by silently affirming, ‘I saw you exist,’ a whispered acknowledgement tethered to the past. This continual whispering forms the fabric of one’s own sense of being. To be independent, therefore, entails a rejection of this mutual witnessing, resulting in a fundamental doubt regarding one’s own being. I place greater trust in my friend’s insights on ‘being’ than any other discourse, embracing this as a passive way of experiencing one’s being.
It appears that his perspective is influenced by Heidegger’s philosophy of being. In Heidegger’s ‘Being and Time,’ he posits that ‘…because Dasein (a German term which means ‘being-there’. The translator of the book decided to leave it untranslated. P.27) is essentially Being with Others’. (p.281) This assertion is exemplified through a poignant illustration of loss, wherein ‘being no longer in the world’ is still a form of ‘being’. Heidegger elucidates further, asserting that the ability for one Dasein to be represented by another is intrinsic to its potential modes of existence with the realm of ‘Being-with-one-another’ in the world. This notion underscores the interconnectedness and interdependence inherent in human existence, resonating with the idea that our sense of self is inextricably linked to our relationships with others within the context of the world.
So, what are some active ways to experience one’s being? I believe that humanity can experience their being through diverse forms of art, which can serve as a substitute for the presence of ‘Others’ to some extent. Among the myriad forms of artistic expression, I will elucidate on four: photography, music, painting and literature. Each of these mediums offers a unique pathway for individuals to explore and deepen their experience of their own being.
Photography stands out not only as the most recent development among the four forms of art but also as the most objective to delve into one’s being. As Roland Barthes articulates, “Every photograph is a certificate of presence.” This assertion underscores the inherent truthfulness of photography; it captures moments as they are, devoid of subjective interpretation or distortion. Consequently, individuals can objectively confront and explore their own being by scrutinising a photograph of themselves.
Nevertheless, from my perspective as a photographer, I contend that individuals can also tap into their own being through the act of capturing photographs. Barthes introduces the concepts of ‘studium’ and ‘punctum’ in his book ‘Camera Lucida,’ delineating two distinct emotional responses experienced by the observer. These terms, derived from Latin, respectively denote ‘study’ and ‘sting’ or ‘cut’. However, I am of the belief that these two concepts also hold relevance for photographers. Specifically, ‘punctum’ manifests as the instant when a photographer is compelled to hold their breath, as if to hold the scene. This notion resonates with Heidegger’s concept of the ‘moment of vision,’ which he refers to as the ‘authentic present’ in ‘Being and Time’. The act of pressing the shutter button while gazing through the viewfinder signifies a profound concentration on one’s ‘authentic present’.
Music, which Hegel categorises as a romantic form of art alongside symbolic and classical, is articulated in his aesthetics lecture that music embodies a ‘dissolution that classical unification of inwardness and external manifestation and takes flight out of externality back into itself.’ This portrayal underscores the inherent subjectivity of the relationship with oneself found within the characteristics of sound in music. Unlike other artistic mediums, music transcends reliance on spatial externality, positioning itself as the quintessentially subjective medium capable of surpassing spatial limitations.
These defining attributes of music, as a romantic art form, facilitate an immersive journey into one’s inner world. The act of listening, being one of the most abstract and subjective senses, nurtures a profound connection with oneself by resonating with the depths of one’s inner emotions – a journey that unfolds and is partially realised.
Moving on to painting, this artistic medium offers a unique platform for individuals to reflect their emotions and experiences. From a phenomenological standpoint, painting allows one to immerse themselves in the experience of being. Phenomenology, which focuses on the direct nature of experience, finds expression in the act of translating one’s perception of the world onto the canvas. By depicting what they have seen or felt, painters engage in a process of experiencing their own being. Through painting, painters confront and interpret their reality, externalising their perceptions onto the canvas. This intimate exchange between the artist’s inner world and the external realm invites themselves to reflect on their own experiences, fostering a deeper engagement with existential themes conveyed through painting.
Finally, there is literature. Literature, as an art form mediated through language, serves as a conduit for conveying internal experiences outwardly. While language inherently imposes limitations on the complete transmission of internal experiences, literature continually engages individuals in a dialogue on how best to convey these experiences as closely as possible.
However, recognising the constraints of language, authors employ creative means to maximise emotional connection and empathy with their readers. By expressing their inner turmoil and conflicts through their works, authors invite readers to connect with their own being. Through literature, readers embark on a journey of introspection, contemplating their lives grappling with existential questions raised by the work. Consequently, literature enhances emotional empathy and connection between readers and authors, amplifying the impact of exploring and sharing the human experience of existential anguish and conflict.