∞
The Japanese conceptualization of shizen elegantly conveys the transient and spontaneous elements of nature as obscurity.1placeholder It contains the vague implication of our fragile and unstable relationship with the multiplicity of life, especially the manner as to how these fleeting moments are appreciated based on our short-lived negotiations with the endless possibilities of the cosmos. Although Japanese aesthetic concepts like wabi, yūgen, and mono no aware may possess negative values inherent both to shadows and concealment,2placeholder there exists an unsettling limit wherein negativity may instead prevent us from experiencing the delight that our experience of contingency may offer. In this instance, the creation of a particular threshold to transform the obscurity of multiplicity into a sensible and intelligible form becomes apparently necessary.
The unintelligibility of the world can resemble Deleuze’s immanence which, as per the philosopher, is the processual plane where all existence traverses. It is the domain where flows, forces, capacities, and intensities interact with and affect one another.3placeholder Because of this plane, things undergo the processes of configuration and de-configuration that others may commonly portray as the everlasting matrimony between order and chaos, which may somewhat be too simplistic. The entropic character of immanence aligns better with de-configuration than with configuration because the composition and decomposition processes of forms presuppose the event of transformation. From this lens, the raw state of immanence can be regarded as organically chaotic.
This plane is neither an asymmetrical unity superior to all things nor a subject synthesizing things, but a creative and intensive domain that subsists prior to consciousness and representation. The moment consciousness apprehends immanence, immanence ceases to be virtual and becomes merely representational. The impossibility of representing immanence is due to these three premises: (1) our consciousness is purely determined by immanence, (2) our consciousness is one among the multiple components of immanence, and (3) the intelligible world transcends consciousness.4placeholder As Deleuze writes:
“It is only when immanence is no longer immanence to anything other than itself that we can speak of a plane of immanence. […]
We will say of pure immanence that it is A LIFE, and nothing else. It is not immanence to life, but the immanent that is in nothing is itself a life. A life is the immanence of immanence, absolute immanence: it is complete power, complete bliss.”5placeholder
Yet this cosmic bliss is a reality that we fail to appreciate since our condition is far too fragile and rigid to affirm all existence at once. We are burdened by the impossible task to fathom the cosmos, but at most, can this vast cosmos only be wholly comprehended through some ambiguous representations like otherness, obscurity, enigma, universe, or God. Nevertheless, our acts of appreciation are only possible through this fragility that necessitates us to dwell in stable territories. Indeterminacies have their limitations in constructing the existential territories that symbolically bind us through shared realities, or perhaps, form communities. We are, therefore, compelled to create stable domains that would generally make existence more habitable by turning some segments of the world into something familiarly human.
What makes a place habitable though? How does finite human existence carve out habitable consistency from the indispensable obscurity of immanence? Bachelard argued in The Poetics of Space that answering this question requires us to go beyond merely describing the picturesque features of houses to understand the qualities that bring about comfort. Rather, we must likewise reveal the affective forces and existential grounds that cultivate the acts and feelings of inhabiting.6placeholder The aesthetic experience of warmth and comfort does not simply emerge from interpreting connections between things and their qualities. Human sensibility actively produces networks of relations between things and qualities to construe a sensible configuration of the world.7placeholder Harmonies between, for instance, notes, tones, and colors, are constellations of sensations that emanate from blocs of percepts and affects.8placeholder This is why the architect holds a similar role with writers, painters, and musicians in organizing materials into landscapes.9placeholder But instead of rearranging affects and percepts linked with words, tones, and notes, the architect orchestrates affects and percepts tied with physical spaces, concretes, shapes, and other elements of infrastructural design.
From grotesque interiors to symmetrical balustrades, construction varieties and variabilities across multiple cultures exemplify the projection of the manners through which our affect may have been organized. Landscapes of affects are uniquely projected onto physical spaces resulting in distinct combinations of colors, shapes, forms, textures, patterns, spaces, and peripheries laid out from the specific tastes and preferences of the culture involved, and leading to the formation of that which we refer to as cultural identity. However, the autonomous nature of affect and its emergence leads to the unlikelihood of directly organizing affect. As Massumi claimed:
“The ability of affect to produce an economic effect more swiftly and surely than economics itself means that affect is a real condition, an intrinsic variable of the late capitalist system, as infrastructural as a factory. Actually, it is beyond infrastructural, it is everywhere, in effect.”10placeholder
Ironically, the creation of habitable spaces is still a degree of organizing affect. But since affect cannot completely be systematized by human intent, which is sarcastically great news for the fascists, there remains some level of uncertainty in the influence of an organized landscape towards sensibility. Inasmuch as a musical score can propagate multiple interpretations and versions of the same piece among musicians and audiences, the same organized space can also produce and reproduce a variety of sensations and feelings among its designers, visitors, and inhabitants. The repetitive arrangements of objects and the spaces between them develop collectively shared realities that encourage communal valuations of the obscure, as well as some sense of familiarity towards it.
Furthermore, the contemporary admiration for becoming different and unique may sometimes carelessly shrug off the significance of repetition in cultural foundations. Oftentimes, repetition is rendered robotic, mechanical, and suppressive. However, Byung-Chul Han emphasized that repetition provides things with symbolic endurance that has the capacity to stabilize human life.11placeholder It provides things with an ontological structure that adequately secures their meaning and therefore stabilizes our relationship with objects. If the meaning of things maintain durability, our symbolic perception of things endures and makes lingering possible. The consistency of meanings in things serve as our existential resting points. But instead of thinking that the meaning of a thing is a fixed property, it instead emerges from the affects things produce and the capacities they enter into with other things.
In fact, rituals are capable of yielding existential resting points since they are symbolic techniques of making oneself at home in the world by making both time and space habitable.12placeholder They transform being-in-the-world into being-at-home since time and space concurrently obtain solid structures.13placeholder However, symbolic repetition differs from what contemporary society usually condemns as the machinic quality of routines. Symbolic repetition has the capacity to produce intensity based on recognition and completion. It founds both duration and intensity through its stabilizing and ritualistic character; unlike routine which recollects what has already happened and thus repeats it backwards.14placeholder The criticism of repetition often circulates around the nature of routines in its tendency to suppress the richness of worldly possibilities into rigidified loops of actions, thoughts, and feelings. Routines do not have the same potency as symbolic repetition to execute changes acquired from the intensities of both consistency and persistence.
These perspectives pave a path towards interpreting home as an aesthetic and ethical phenomenon. Its aesthetic implications are embedded in the organization of space and how the art of arranging physical territories produce, compose, and organize percepts and affect to a degree. But unlike the assailable character of cognitive processes in the face of techno-totalitarian and other fascistic regimes, affect must be provided with the right conditions to develop its vigor and strong relationship with the world earnestly. The fact that architecture and interior design practices can provide affect with decent conditions to organize its environment and be organized by its atmosphere means that this particular position is a matrimony between ethics and aesthetics. Orchestrating the manners through which we feel, sense, perceive, or encounter other bodies conveys that this aesthetic stance is likewise an ethical phenomenon. Therefore, the primary aim in this short essay is to develop a certain understanding of the ontology of habitability and the ethico-aesthetic implications of home.
chaos (chaos) chaos
Chaos must be contained to a certain degree; not to wage war against it but to create connections between its elements across its spaces. Avoiding it would be naïve and unconditionally embracing it would likely be suicidal. Although chaos may conventionally be perceived as an enormous black hole that destroys everything it touches, there remains a possibility to create a fragile point in its middle as a sense of habitation since chaos can be differentiated and is creative.15placeholder Instead of thinking that chaos is pure indeterminacy, it is rather immanence that has its own rhythms, intensities, and directional components.16placeholder By creating new concepts, we can develop existential refrains and resting spaces by familiarizing ourselves with the pluralistic components of chaos. As Heidegger stated:
“But the human being is not only a living creature who possesses language along with other capacities. Rather, language is the house of being in which the human being ek-sists by dwelling, in that he belongs to the truth of being, guarding it.”17placeholder
Chaos must temporarily be organized into a consistent form that might prosper, in our experience, some sense of familiarity towards what we consider our lifeworld. Although organization is necessary, there are forms of organizations that do not aim to eliminate the appearances of chaos, such as Tanizaki’s aestheticization of shadows in traditional Japanese interiors. But the fact that this degree of preserving chaos is still based on its appearance, it is also important to consider appearances in thought as equally valuable. Though this way of thinking about appearances is unlike that of Plato’s forms which represents the primordial with transcendental identities. Instead, the plane of immanence is a section of this primordial chaos by slowing down its infiniteness and making possible the translation of this chaos into something virtual and imaginable.
Félix Guattari’s chaosmosis is a way of thinking with chaos. Its main goal is to propose an ethico-aesthetic approach that liberates our conditions from the imprisonment of what Heidegger refers to as being and Being by favoring the plurality of possibilities, which decorporealizes and deterritorializes contingency.18placeholder It is a way of thinking not through fixed identities or totalities but through processuality. A processual concept, for instance, is what Deleuze and Guattari refers to as chaoid. A chaoid is a “reality produced on the plane that cuts through the chaos in different ways.”19placeholder They claimed that art is not chaos but “a composition of chaos that yields the vision or sensation, so that it constitutes […] a chaosmos, a composed chaos.”20placeholder The idea that chaos possesses the dynamic components of speed, rhythm, intensity, and direction means that it can be composed just like the composition of notes to develop a musical form. Perhaps, the pleasure in consciously arranging musical notes is a projection of human affect in forming desirable connections between mechanical vibrations.
Furthermore, they explained that a concept is a chaoid par excellence because it creates a consistent rhythm of thought, which acts like a mental chaosmos.21placeholder Thought has only become possible because the human condition is constantly haunted beautifully by this chaos and necessitates us to produce consistency in this vast cosmos. Moreover, the fluidity of chaoid-as-a-concept results in its capacity to refer beyond concepts and towards disciplines (art, science, and philosophy), or much more specifically, to physical structures (house, building, and landscape). As Guattari expressed:
“One creates new modalities of subjectivity in the same way that an artist creates new forms from the palette. In such a context, the most heterogenous components may work towards a patient’s positive evolution: relations with architectural space; economic relations; the co-management by patient and carer of the different vectors of treatment; taking advantage of all occasions opening onto the outside world; a processual exploitation of event-centered singularities.”22placeholder
In this passage, Guattari acknowledges that a person’s relationship with architectural spaces can assemble affect into new modalities of subjectivity. If art is the constellation of affects and percepts,23placeholder philosophy is the art of forming, inventing, and fabricating concepts.24placeholder While philosophy aims to create new concepts, art aspires to develop new ways of feeling towards things. In an infrastructural sense, the physical construction of a house and the habitable conceptualization of a home harmonize together as consistencies that establish an existential ground for humankind’s kinship with the world.
A home is an affective-mental chaosmos; it is a concept that contains the tendencies of how the aesthetic principle of habitability can be extracted and experienced based on the particular arrangements of physical spaces. This is because the principle of habitability is a degree of organizing affect, which boils down to homeness becoming essentially linked with the nature of rituals. As mentioned earlier in this essay, the symbolic nature of rituals create existential resting points for the human condition. The stability required to interpret a site as home gives endurance to a place as if it contains its own repetitive and self-contained essence.
Rituals do not solely establish the habitability of spaces because there is a plurality of other practices, like thematic arrangements and textual comfortability, that can transform a space into a home. However, the ontological repetitiveness innate to any practice that transforms a site into an emotional sanctuary is essentially ritualistic. The repetition of a singular theme in any object or the gentleness of colors and textures in things are expressions of the same fragile yet familiar point unfolding in the middle of this primordial chaos. As Han pointed out, human beings are creatures of sites because they require dwelling and staying.25placeholder
In addition, a ritualistic rite is prerequisite to ritualistic site because sites become sacred only through formalized actions performed within them, as well as the declared purposes and boundaries designated for them. For instance, rites of purification prepare and enrich ordinary spaces into symbolic sites, which reimagines the mundane as divine. In fact, Saile’s essay The Ritual Establishment of Home explains that ritual procedures are prescribed in relation to a home, which may occur at ceremonies like birthdays, weddings or funerals, or at acts like house construction, family rituals, and domestic routines.26placeholder Since we humans are rhythmic animals, our creation of dwelling places reflects and constitutes our rhythmic patterns.27placeholder These ritualistic performances and the compositions of bodies that make these patterns possible support systems of environmental milieus that fashions a certain rhythm of life.
A rite is the most fundamental form of rhythmic act, and practicing a rite towards a site inaugurates symbolism within its boundaries. Contrary to the usual understanding that ritual sites are synonymous with churches, temples, mosques, or ancient megaliths, it must be clear that ritual sites conceptually differ from places of worship. While worship places are considered as infrastructures that represent more immediate access to a notion of divinity, other ritual sites are expressions of the rhythms relative to the way divinity is symbolized by a specific community.
The house is a ritual site. A home place endows ritual with meaning inasmuch as rituals endow the home with its essence.28placeholder Filipino fiestas, for instance, are traditionally celebrated both at the plaza and inside the house. The town center becomes the place for traditional dances, like San Pablo, Laguna’s Mardi gras and Baybay, Leyte’s Sidong, together with other events like bazaars, pageantries, bayles (open-air disco), and carnivals. Concurrently, homeowners traditionally celebrate during the bisperas (the night preceding the actual festival date) to invite their friends and relatives into their houses to sing karaoke, share stories, and drink alcohol together until midnight as a manner of anticipating for and welcoming the feast day at 12:00 AM. These kinds of celebrations preserve the sanctity of home by perpetually upholding the ethical idea of rightness in home life.29placeholder
Hence, the symbols that constitute the aesthetics of home assemble a constellation of affects and percepts that serve as a threshold between the obscurity of chaos and the familiarity in consistency, which develop unfamiliar territories into what can be considered as habitable. Since art transforms chaotic variability into a chaoid variety,30placeholder art basically traverses the threshold from obscurity to familiarity. Art makes sensibilia, and therefore, makes the experience of having feelings towards things possible. This perspective regards the structure of a house and the concept of home as synergistic chaoids, which is also a synergy essential to founding family, community, and humanity through its spatial, temporal, and existential consistencies.
From Shizen to Landscapes
Landscape is both mental and physical. Its physio-mental character is a manifestation of the same immanent plane and the schema that unifies multiple elements into one scenery. For example, whenever we regard a landscape as a beach, perhaps, it is the event point through which saltwater, waves, sands, trees, and other necessary elements fuse into a single idea. The saltwater is not the beach; neither are sands, waves, trees, fishes, etc. While logically, this singularization might seem reductive and representational, it is in fact aesthetically conjunctive which creatively turns the vagueness of a space into a continuum and becomes an assemblage that we can sensibly admire. But what allows us to perform this transformation of vague space into a continuum? What allows the architect to orchestrate affects and percepts tied with physical spaces, concretes, shapes, and other elements of infrastructural design? Berardi provided a contiguous response to this question in his work And: Phenomenology of the End:
“Emotion is a concatenation of unconnected things, events, and perceptions. But, we might ask, how is a concatenation possible between things that have no connection? Are there filters and grids that make the human organism sensitive to the color of autumn leaves, to the tenderness of a gesture, or to the sound of a song? Are the parts that enter into a concatenation fragments of a mosaic whose unity has been lost? […]
A conjunctive concatenation does not imply an original design that must be restored. A conjunction is a creative act; it creates an infinite number of constellations that do not follow the lines of a pre-conceived pattern, or an embedded program. […]
Sensibility is the faculty that makes it possible to find a path that does not yet exist, a link between things that have no intrinsic or logical implication.”31placeholder
Sensibility creates aesthetic connections between various elements of a landscape, which thereby cultivates a unified emotional experience towards space.32placeholder Since architecture and interior design perform the same aesthetic connection between landscaping elements but focus primarily on what we signify as inside space and private life means that both architecture and interior design are within the scope of landscaping. All these disciplines apply the same spatial dimensions that emerged from Ancient Egypt and Mesopotamia that heightened our awareness of the vertical-horizontal and mass-volume relations.33placeholder In fact, associating the concept of landscape with the natural environment is a recent phenomenon since the word used to be more strictly linked to the perception of land and its community.34placeholder This can be noticed with how medieval landscape paintings constitute the views of towns while simultaneously portraying the feudal system and the power structure within a society.35placeholder A concrete example of this landscape painting is Ambrogio Lorenzetti’s The Allegory of Good and Bad Government inside the Palazzo Pubblico in Italy where social and political structures are merged with a society’s arrangement on land. This shows that originally, landscaping does not really signify natural sceneries that are isolated from human civilization since it is initially presented as a form of natural-cultural exchange.
On the other hand, isn’t nature capable of providing aesthetic pleasure on its own? Does sunny meadow not caress us with its buoyant vitality, the resting sea with its calm repose, and the vast blue sky with its celestial liberty? But wouldn’t it be doubtful for human beings to apprehend these qualities without prior experience of sensible forms and schemas? As Yi-Fu Tuan argued, “Nature is too diffuse, its stimuli too powerful and conflicting, to be directly accessible to the human mind and sensibility.”36placeholder Without schematic orchestration of nature, our feelings towards space remain diffused and fleeting as well.37placeholder Hence, the meaning of space fails to linger in this case and will not contain enough ontological durability to establish a site. In this sense, lingering becomes impossible.
While shizen engenders the necessary distancing from the world and regard its obscure and spontaneous elements as nature, it is also important to overcome the diffused and fleeting character of shizen by transforming space into a landscape. Firstly, recognizing a landscape does not always require controlling and regulating spaces. This act of recognition is the formation of a mental chaoid, similar to the concept of shizen. Secondly, controlling and regulating spaces to build an aspired landscape through the practices of gardening, architecture, interior design, etc. is the rite-to-site expression of human ritualization of place. In this case, recognition and expression conjoin into becoming an affective-mental chaoid.
These points confront us with the most important question of this essay: How can these ideas be developed into an aesth(ethic) practice? Since I have already expressed my sentiments regarding the obvious aesthetic feature of landscaping, how can we incorporate its aesthetic facets with ethics? Although, there are two senses of the word ethics based on Raymond Geuss: (1) moral codes or rules that contain restrictions to implement permissible acts towards others and (2) opening each object and its encounter with other objects to new possibilities.38placeholder Revisualizing Geuss’ second sense of ethics based on the subject matter of this essay would mean to recognize landscaping as the arrangement and designing of spaces into a field of relations and encounters between bodies that could potentially give rise to new affects.
To understand the concept of affect, let us review how Deleuze distinguishes between Spinoza’s use of the terms affectio and affectus. He wrote:
“The affectio refers to a state of the affected body and implies the presence of the affecting body, whereas the affectus refers to the passage from one state to another, taking into account the correlative variation of the affecting bodies.”39placeholder
He clarified that affectus is Spinoza’s terminology for affect. Deleuze further quoted Spinoza:
“By affect I understand affections of the body by which the body’s power of acting is increased or diminished, aided or restrained…”40placeholder
In other words, if landscaping is a degree of organizing affect, it also shapes how we live and relate with one another. From this exact point, we can also begin acknowledging the practice of landscaping as an ethical act. Architectural spaces and infrastructures may either dampen (when human subjects are rendered reactive/passive by a space) or enliven (when human subjects are rendered active/creative) affect.41placeholder Encouraging active forces in a Nietzschean sense would also mean providing affect with the right conditions. But landscaping, as an ethico-aesthetic paradigm, does not mean deterministically controlling affect as well. I would like to strongly emphasize that affect here is conditioned and not determined. Instead, landscaping creates a field of potential affects without guaranteeing fixed affective outcomes. For instance, the architecture of a cathedral organizes light, sound, and movement so that certain affects become possible, thereby allowing different affects to arise in the same space. The architecture of prison, on the other hand, organizes a culture of suspicion, surveillance, and hyper-vigilance so that anxiety and submission are determined as guaranteed emotional outcomes. Ergo, landscaping, as an aesth(ethical) position, composes affects through assemblages of bodies, materials, movements, rhythms, and forces via infrastructural design. Its primary aim is to allow the pluralistic conjunction between occasionally incompatible bodies, which may potentially encourage the emergence of new affective dimensions.
Since the house is a landscape that serves as the most common dwelling site for humankind, and is one of the most significant infrastructures that fluidly shape the ontological yet processual essence of what it means to be human, means that the aesth(ethic) paradigm of landscaping is much more substantial and applicable to understanding the different cultural arrangements of houses, be it vernacular, revival, or international styles of architecture, as well as new modes of landscaping arrangements that might revolutionize the way we view and develop our homes and affective organizations. Linking the physical structurization of different houses with the conditions through which they situate and organize human affect will propagate a more aesth(ethic) elaboration of what regards spaces as homes.
This paradigm is not merely a traditionally aesthetic interpretation of what renders certain arrangements beautiful and pleasing to human sensibility, but an exploration of affect’s active engagements with the different elements of space. More than an exploration, the aesth(ethic) of home is an experimentation with the various ways human sensibility can experience and produce a meaningful sense of belonging with a fragile little point constructed and situated in the middle of this primordial chaos. Lastly, more than an experimentation with sensibility, such an approach in landscaping is an active creation of chaoid varieties, more particularly the affective-mental chaoids of house and home, by inventing various ways of infrastructural design that compose, in their own ways, the plurality of affect into creative and productive chaosmoses.
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