Monday, December 9, 2013
The central philosophical point to these posts is that the logic of happiness is such that the illusions of difference between mind and matter, self and other, appearance and reality, essence and existence ~ all the strain of dichotomized faculties and the angst of alienation and estrangement ~ simply collapse under their own weight.
The reflex of turning toward the sensation of happiness is a reflex of a certain standpoint adopted by one's own mind. The choice to 'be' rather than 'become' shatters our ego's thoughts on nature where only existence is left, a spirit rejoicing in a moment of self-affirmation that excludes nothing.
I am aware that these posts are not as "funny" as some of my readers might prefer, but during the holidays one is almost always a bit more reflective than blatantly humorous. Of course the self-designated title of Philosophical Humorist is one that insists upon philosophical rumination weaved throughout all one's thoughts, jokes, and humorous musings. In my mind of minds, everything I write has a humorous tint, a pinkish hue that resonates and bubbles up to the top. My words mirror the sentiments I choose to experience as I skip and pirouette my way through life.
Whether or not there is something one can do to change the world with a piece of insightful blogging is a matter of debate. Nevertheless, one could come across a blog like this and actually find themselves drawn toward the ease and simpleness presented in each post ~ finding a shared understanding many matters simply by resonating with my initial intention for starting this blog in the first place: the desire to be true to my own self and the willingness to explore rather than define or label.
For me, happiness arises whenever I am thoroughly present in a given moment, which feels like an honoring of myself, another, and the moment itself.
Under the purview of laughter my sense about the philosophical placement of happiness is more on the order of an obverse to the "sensible" responses associated with living in the "real" world than it is on defining those responses.
The words: "real", "true", "right", "wrong", "me", "you", "them", and the like are words that instantly produce a smile on my face and within my being. They are hilarious declarations of insanity in that one can never know and can thus only be "okay" with not knowing, contending oneself instead with hoping, if one wishes to do so, or with exploring, if one is so inclined.
I fall into the latter of those examples. Everything I do in life, which reflects in my writing, is from a standpoint of knowing that I do not know and enjoying thoroughly the experience of exploring and ruminating on all the many thoughts and sentiments available to me.
Hence my drive toward new and heightened experiences... but not in a way that is vexing. Instead, I prefer the scenic route. The fastest route anywhere, theoretically, is a straight line, but I am not wired to follow a rigid path. This means that I do not enjoy focusing on one path, diligently seeing it through, working my way through, or any word denoting the exercise of effort associated with arriving or "getting there".
Instead, I incline toward effortlessness and thus naturally gravitate toward those thoughts and experiences that arise from a state of effortless communication, effortless thinking, and effortless being.
I do not need to bear witness to any fact, acknowledge any primal reality or command another's respect. I do not seek affirmation from other scholars or theorists on the matters discussed, shared or implied in this blog. I write from the other side of the conceptual coin: joyfully celebrating and participating in the reality of each moment, and that is the end of it.
All the wisdom fashioned in life, literature, and philosophy can awaken us, if we're lucky, to such moments, where we realize, in the wake of history and against the accumulated weight of the world, that these moments in which we are moved to tears and laughter are precious.
Being happy is about not allowing other thoughts to hold life in bondage. Allowing moments to come as they will, and not as we will, gives us in return a sort of freedom over how we feel inside. When one cannot feel true joy without the internal dialogue directing it so, the reduction of situations aimed at justifying existence emerges from the mind and the moment is lost. It is then a matter of choice; the argument for this is in the result of those choices.
Happiness occurs at the interstices between freedom and compulsion. Like freedom, happiness loses its life in possession. Like love, happiness can only exist in the exercise of it; also like love, it has a compelling nature of its own, and like loving, happiness can only exist in its own freedom.
The parity of happiness is fragile in a similar way: the intrigue of intention, however well meant, will destroy it. Happiness is lightness and light carried on the air; it cannot be bottled or boxed. One can adorn a smile, but that does not denote a smile of the mind.
It is difficult to say which restraints hinder and which ones free us. As for me, I have found that these are one and the same, with choice being the only differentiating factor.
I can say that it is possible to release oneself from the ancient demons of the human condition of contingency: from time, troubles, plurality, scarcity, from the consciousness of pain, from the responsibilities of promises and obligations, from the authority of truth and reason ...
...and, yet, still be on time, have the ability to dissolve troubles as they arise and find unity in every crevice of plurality or abundance where none was previously considered...
...and, yet, be able to remove oneself from the intensity of pain to a place where relaxation flows is also an experience of our choosing, a childlike, opportunistic cheerfulness or "pick me" attitude while following through on the promises we make,
and finally, one can arrive to a state of perceived recognition where no single truth is true and no single falsehood is false, but is, instead, both depending on the view one takes and the perspective one holds. Because it can be, it is, or isn't. The truth of the matter is not necessarily the highest order.
The side of the coin we see is entirely our choosing. If we encounter heads where we wish to experience tails, all we have to do is turn the coin over and return to the point in which we made ourselves ready to experience tails... or if the mood strikes, go for it and instead choose to experience heads. Freedom arises from accepting our choices, irrespective of the support the world provides.
It is pointless to try to determine from whence happiness arises when we can simply release ourselves into it through reflection, desire, and earnestness. Happiness is not the result of any traditional, religious path ~ it is the fullness of time held in a single moment. These moments are available to all who choose them.
The feeling of happiness, the fullness felt in any given moment arises out of that passion of faith and release of belief that we can affect the world. If we consider eternity to be the absolute fullness of any given moment, then happiness is simply a faith that embraces the whole of existence.
I have not come quite full circle in this post to give anyone a clearer idea of where it began, but exploring happiness, even in the brief time it took for me to write this post, is an experience from which I derived a sense of happiness. The reality of existing in a given space one wishes to experience is perhaps key to unlocking its potential within it.
The reality of life is measured in many moments; any one person's exploration of these moments has less to do with the teaching others and more to do with the individual learning that takes place when one considers them.
Sunday, December 8, 2013
What is this miraculously connected attunement I feel toward my balloon? What does this affinity reveal about the essence of my own nature? What does that shiny, vibrant sphere bring into my modus of understanding and how can or will it remain in that status?
Knowing one's own balloon is not the same thing as simply acquiring new knowledge in a new landscape with a new animal to guide the way. Knowing one's own balloon requires full existential involvement.
To keep your balloon inflated throughout your many dreams and with your many guides and companions, you must adopt a kind of Heideggean philosophy, you must not take seriously the possibility of total reduction of spirit to plain intelligence.
For Heidegger, preservation of spirit as a wholeness of being became the central theme of his philosophy. Thinking is authentic, constitutive only if it is an existential outcry, if it is the voice of being.
But what about my balloon? Can I truly sense it in its silenced presence of being? If my vision of a balloon, my understanding of my balloon is misguided, do I then stop seeing the balloon?
Directing our focus back onto ourselves, beyond the place of doubt and straight and shallow superficiality, we uproot our self from consciousness with liberating thoughts...
thoughts that eventually lead to the oblivion of being, to the popping of our own balloon.
Heidegger calls this the emasculation of the spirit...
As Heidegger puts it "the spirit falsified into intelligence thus falls to the level of a tool in the service of others, a tool the manipulation of which can be taught and learned" (Heidegger, p. 248).
~ surrounded by a sort of spiritual gravity, the closer we are to the center of ourselves, the higher our balloons rise and the more clearly our essence of being can perceive the world.
In honor of keeping a healthy, constitutive tension between spiritual awareness of being and intellectual reflection ...
Friday, December 6, 2013
All that moves in the body of a dancer is momentum. But where does this impetus come from? From where does it arise? Does it have mass and velocity or does it merely act upon those things that do? Is it a desire, a way in search of a rhythm?
A reading of Le Clézio's first works in which the characters have already discovered that rhythm is a mathematical binary palpitation tied to the heart beat will arise within you a consciousness about the origin of this life-giving linear momentum or force.
In Le Clézio's short story entitled L'homme que marche, his protagonist Paoli has found the mechanical rhythm he had been looking for since the morning.
Tout à coup, il lui sembla entendre les détonations, quel que part au fond de sa tête; cela sortait lentement, et cela tombait régulièrement, avec une alternance de graves et d'aigus. La joie envahit alors Paoli, et avec un enthousiasme fébrile, il se mit à crier, pour lui tout sel, pour personne d'autre que lui: "C'est le rythme! c'est le rythme! j'ai retrouvé le rythme!" C'était le rythme du début de la journée, en effet, le bruit mathématique des percussions de l'eau sur la bassine renversée, là-bas, au fond de son studio, et qu'il retrouvait maintenant, sur la route (F. 131).
After having discovered rhythm deep in the experiments performed in his studio, Paoli discovers its identicalness on the street. Was he consciously in search of this quest, for a knowledge that would bring about the accomplishment of intention?
From where do Handel's notes arise? Are these sounds found in nature, somewhere along our everyday routes? Is the music lover's quest to find their identicalness along the street? Are musical experiences made out of everyday nature before being crafted into their designed logic?
I have yet to hear the clouds or trees playing any portion of Handel's Concerti. Maybe I just don't hear their broken-up notes in the world in order to return home to my studio and put them back together again.
The Mirror of Venus (1877)
Sir Edward Burne-Jones (1883 - 1898)
Provenance: Frederick R. Leyland Collection. Bought from Arthur Ruck, London, on September 29th, 1924. Calouste Gulbenkain Museum, Portugal
Where can momentum be found? In this pre-Raphaelite Movement, formed in England in 1848, which fostered a cult for medieval mysticism, Gothic art and 15th century paintings, the aesthetic principles on which it was based sprang mainly from the new Aestheticism trend that emerged in the 1860s. The subject of this composition, sometimes called the exaltation of ideal beauty, the unreal atmosphere of the scene depicted fits into an aesthetic perspective on the search for momentum.
With minimal narrative discourse, and dream-like figures wearing Greek-inspired pseudo-classical clothes in a linear frieze-like fashion, we adorn ourselves with thoughts and ideas pertaining to our intentions and head out into the world in search of their aesthetic likeness.
Lady and Child Asleep in a Punt under the Willows (1887)
John Singer Sargent (1856 - 1925)
Provenance: Mrs. Seymour Tower. Bought through Colnaghi, Sotheby's Sale, London, July 20th, 1921, no. 223.
Calouste Gulbenkain Museum, Portugal
Perhaps it is that our heart behaves like a sort of metronome, regulating our breathing, as we learn to pause until we find the rhythm that allows us to forget ourselves. This forgetting of self is a component part of an initiatory journey where we learn how to walk, run, march, and then softly tiptoe through the world in search of our own rhythm.
Motivated by our own sense of momentum, we each seek that ethereal or delicate balance between walking and flying, breathing and dyspnea, that teaches us to listen to ourselves so that we might find an aspect of ourselves mirrored in the world. This finding of oneself outside oneself is akin the realization of a quest, a journey toward self-discovery that has nothing to do with "truth" and everything to do with "being".
Boy playing the Flute (1660)
Provenance: Queen Louisa Ulrike (of Sweden) (as attributed to Frans Hals); Duke Frederick Adolf; Count Brahe; Queen Desideria; King Oscar II; given by him to the Nationalmuseum, Stockholm
In Le livre des fruites the initiatory part of music is clearly put to advantage. It is a matter of listening to a child playing a tune on a flute of symbolic values:
Devenir pur. Dépouillé de tous ses bourdonnements, devenir le simple souffle de l'homme, que ne veut pas décrire le monde, qui ne veut pas imiter le vent ou la pluie, qui n'a plus rien à voir avec le réel. La vraie respiration (...) que est elle, magnifique elle, elle pour elle, elle d'elle (LF, 261).
Atlantic Storm (1876)
John Singer Sargent (1856-1925)
Painted on the return voyage of Sargent's first visit to the United States in 1876 on board the S.S. Algeria; Provenance: Auguste Hirsch, Paris; Mrs. Hirsch M. Knoedler & Co., Paris, 1914; P.J. Gentner Frank Smith, Worchester, Massachusetts (sale: American Art Association-Anderson Galleries, New York, December 3, 1936, lot 60 Acquired by the present owner's father at the above sale $100,000-150,000
This impetus that we find, often evoked, touches then a link to the immortal cosmos and to its elements where we must "percevoir le rythme de la mer et du vent" "lentement, sûrement respirer avec eux" "respirer avec le reste du monde. Respirer dans la mer, au coeur des rochers, dans les nimbes des nuages, au milieu du vide noir" (D, 173).
The elements we find, be them music in water or waves, or momentum found in the natural falling and rising of things, have their origin in that impetus that gets the entire world and everything in it going.
The Birth of Venus (c.1484-85)
Alessandro Filipepi, known as Sandro Botticelli (1445 - 1510)
Provenance: Villa di Castell0 (at least from 1550, up to at least 1761); Palazzo Vecchio, Guardaroba (1815); Uffizi (1815)
What we find along our route is as unique as where we exist; the thread that leads us from the sea to the wind is as fragile as the language these links symbolize. Seduced by the anachronism of the moment, belonging to an antenatal rhythm so reassuring; the music, gestures, wishes and imaginings suggest a crescendo, a musical momentum found in a cloudburst, animated by a rapid movement of rotation, and represented in almost every metronomical way possible.
Forgetting the truth found in the 'real' context, rushing over ourselves to decipher why anything in the world moves, we find the dream vanish within the fall only to be revived in the "à-coup" of life we serve ourselves.
A Bar at the Folies-Bergère (1882)
Institute of Art Gallery, London
Thursday, December 5, 2013
Boy Blowing Bubbles (1867)
Édouard Manet (1832 - 1883)
Provenance: Albert and Henri Heicht, Paris; Emmanuel Pontremoli, Paris, 1916; Bernheim-Jeune, Paris, 1916-1918; Durand-Ruel, Paris, New York, 1918-1919; Adolf Lewisohn, New York, 1919; Bought through André Weil, New York, November 1943.
Calouste Gulbenkian Museum, Portugal
There is an immortality in naïvety. For a child, this naïvety is a natural occurrence, but for an adult to perform the spontaneous reduction, hopelessly entangled in a similarly felt aesthetic consciousness where the mind disconnects and the corporeal realm of existence experiences the world from a sense of pure desire, the a priori of the experience is a kind of mechanism that one must put to work within oneself while simultaneously suspending volition, disconnecting the continuous, direct acts of one's own will.
The moments that arise are authentic and adequate, and sufficient enough to neutralize the absolute observer in oneself. Thereafter, a projectional balance in understanding becomes the authentic adult being. Naïvety updates the mental facility according to the understanding of what being actually means and what has to be done to keep being in its existential status.
Soap Bubbles (1859)
Thomas Couture (1815 - 1879)
Provenance: John Wolfe, New York (until 1863; sale, Leed's, Old Düsseldorf Gallery, New York, December 22–23, 1863, no. 129, as "Day-Dreams" or "The Indolent Scholar," for $4,750 to Hoey); J. Hoey, New York (from 1863; sold for $5,000 to Sanford); James T. Sanford, New York (by 1864–at least 1867); Catharine Lorillard Wolfe, New York (by 1876–d. 1887)
The Metropolitan Museum of Art, New York
There is an immortality in naïvety, a kind of play between acquiring knowledge and understanding. The feeling of flexibility and an image of flickering possibilities instead of solid pictures which transform those faithful renderings of the visible world into a playful domain that ousts the absolute observer in oneself in order to protect the genuine thinking involved in formalizing a thought.
The rational tools are set aside to keep oneself existentially awake and alert. The mind reflects upon itself constantly, entering back into self-consciousness, but for a few moments there is a balance between existential awareness and intellectual reflection.
From this point of view the existential status of being casts one away from the formal knowledge held in self-consciousness, toward a delightfully enchanting game of bubble blowing.
Soap Bubbles (ca.1733-34)
Jean Siméon Chardin (1699 - 1779)
Provenance: Louis-François Trouard, Paris (until 1779; his anonymous sale, Paris, February 22, 1779, no. 44, as "Deux tableaux pendans; ils représentent chacun un jeune garçon vu à mi-corps; l'un s'amuse à faire des boules de savon, & l'autre un château de cartes," canvas, 23 x 24 pouces, for Fr 95 to Dulac); ?Antoine Charles Dulac, Paris (1779–1801; his sale, Paillet and Delaroche, Paris, April 6, 1801, no. 19, as "Deux Tableaux . . . l'un représente un écolier qui fait des bules de savon; l'autre, une jeune fille qui fait lire enfant"); Jacques Doucet, Paris (by 1899–1912; his sale, Galerie Georges Petit, Paris, June 6, 1912, no. 136, as "Les Bouteilles de savon," for Fr 300,500 [with no. 135, "Le Faiseur de châteaux de cartes," for Fr 190,000]); David David-Weill, Paris (1912–at least 1933; cat., 1926, I, pp. 25–26, ill.); Fritz Mannheimer, Amsterdam (until d. 1939); his widow, Jane Mannheimer, Amsterdam, and later New York (1939–49; held in Paris for Mrs. Mannheimer at Chenue; seized by the Nazis and "bought" May 12, 1944 through Posse and Mühlmann for Fr 800,000 for the Führer Museum, Linz; held at Alt Aussee  and at Munich collecting point ; returned to France, January 30, 1946, by the Service Français de la Récupération and restituted following agreement with SNK [Netherlands Art Property Foundation] in or after 1948; sold to Wildenstein); [Wildenstein, New York, 1949; sold to MMA]
There is an immortality in naïvety. Blindfolding oneself from the faculty of judgment, an irony arises, that highest and most advanced form of existential self-awareness. Receptive minds perceive the experience from a natural standpoint, reflective minds perceive the experience from the other side of the painting.
One's experience of these boys blowing bubbles is orbited into two halves ~ a being in the center of experience, a being serving as an absolute observer. The irony is the ability to choose, to change one's focus of observation, to extend a possible horizon of experience or even blow one's own bubble past it.
Soap Bubbles (c.1784)
Johann Melchior Wyrsch (1732 - 1798)
Musée des Beaux-Arts et d'Archélogie (Besançon)
There is an immortality in naïvety. A mental journey between "yes" and "no", between extremes of spatio-temporal simplicity and existential multiplicity, between "doubt" and "certainty", "desire" and "fear".
The techniques one acquires and then reduces give rise to a sensory perception of one's own subjectivity. Enhanced by the notion of "light" and "dark", the contrasts clearly defined in these experiences are mirrored in these works of art, both represent a simple musing on the ephemeral nature of life.
Symbolized by simplicity, naïvety becomes the most singularly sought after experience for one wishing to rediscover the feelings held in delight.
The thoughts considered under the spell of enchantment are what make these paintings timeless. The experiences felt under the spell of enchantment are what make naïvety an immortal occurrence.
Tuesday, December 3, 2013
The art of gift giving is about celebrating life. It is about joy, laughter, mirth, amusement, and a smile that you share with another.
Portrait of Louis XIV (1638-1715) as Jupiter Conquering the Fronde
Charles Poerson (1609-67)
Château de Versailles, France
During the reign of Louis XIV, about two centuries before Wagner proclaimed his doctrine of the Gesamtkunstwerk, the blending of the arts into a unified experience was already an aesthetic ideal.
The Fisherman and the Syren (1856)
Lord Frederic Leighton (1830 - 1896)
Louis XIV (5 September 1638 - 1 September 1715), Louis the Great or The Sun King, would have been a difficult man for whom to buy a Christmas present, for he had everything under the sun. A similar dilemma is often times faced by today's holiday shoppers while seeking the ideal gift this holiday season.
What does one buy for those whom one wishes to express a sentiment of appreciation, for those whom one wishes to evoke a smile, for those whom one wishes to share in a moment of wonderment and delight?
Often times the question: "What would you like for Christmas, Chanukah, or Day of the Kings?" is asked when trying to decipher what to buy someone".
What an awkward question to be asked. Think about the look on your own face when someone asks you this question.
Lord Frederick Leighton (1830-1896)
Unless someone you know is specifically saving up to purchase something unique or special... like a piece of art, a new guitar or even a Smartphone, more than likely the question will be reacted to with a sense of guilty appreciation. This turns gift giving into something stressful or daunting.
How does one spin this dysfunctional holiday dalliance
into a beautifully orchestrated Viennese Waltz?
By allowing the character of the individual upon whom one wishes to bestow a gift of gratitude be your holiday shopping guide.
What does one give the artist in their life? Perhaps...
A painting, an engraving, an exquisite piece of porcelain sculpture, or an antique tool their favorite artist might have used to inspire their next painting or piece of art.
What does one give the musician in their life?
Season tickets to the symphony, a beautifully illustrated book on the history of their favorite instrument, an antique brass sheet music stand, or time in a studio to record their latest song or musical score.
What does one give the writer in their life?
A first edition of their favorite book, an antique royal book stand, a stylish new writing instrument, a beautifully hand blown Morano table lamp for their library, or even a letter of declaration, a beautifully written, heartfelt sentiment of appreciation that a writer would relish.
What does one give the explorer in their life?
A personal satellite to enable communications from remote locations, a new camera lens or helpful gadget for documenting interesting finds, a rare book on survival techniques and strategies, or an antique compass for finding their way back home.
What does one give the historian in their life?
A beautiful leather bound journal from Florence, a letter or official document or ancient correspondence bearing a famous signature or seal, a vintage bottle of their favorite wine, a relic from a historical society, a pair of antique spectacles belonging to a beloved historical figure, or a subscription to their favorite archaeological digest.
What does one give the sailor in their life?
An authentic 18th century half-circle surveying/pelorus instrument (Graphometer), a handcrafted antique wind-up music box, a late 19th century brass telescope for star gazing, or a quality navigational instrument to aide them in their voyages.
What does one give for the technology lover in their life?
A handcrafted thumb drive, a mummy cord wrap for keeping their earbuds untangled, a mini iPhone scanner that saves favorite photos into digital ones, a fine and rare Cuff-type folding chest microscope c. 1800s, a small tortoise shell magnifying glass, or a beautifully illustrated book on the history of invention.
What does one give for the art collector in their life?
A painting or first-edition memoir written by or on their favorite artist, credit with Christies International, an antique easel that only an art aficionado would cherish, or paints from Sennelier, the shop where Pablo Picasso, Cézanne, Gaugin, and many other famous artists purchased their particular shades that helped to transform the world's understanding of artistic creation.
Whether you are purchasing a 19th century Cartier bracelet or antique harp, or making someone a beautifully bound leather photo book, or making a bouquet of beloved trinkets or collectables, it is not so much what you buy as how you approach giving.
Gift giving is an event. It serves as an opportunity to share in a special moment of enjoyment for someone for whom we care or appreciate. It is about the laughter that springs forth, the smile that overtakes, the poetic rhythm associated with a vitality that radiates from the soul when one is presented with a gift that demonstrates that they are understood and appreciated by those who care about them.
Whatever you give, be it your time, your talent, or your extraordinary ability to find a rare or nostalgic object, it is the symbolic gesture of individual appreciation that each person appreciates, enjoys, and remembers...
Sunday, December 1, 2013
La gamme d'amour (The Love Song) 1715-18
The National Gallery
The probability that one will fall in love with the person who sits next to them in a coffee shop, for example, equals the probability of a number of factors. The simplest and most fundamental qualitative law of probability is the extension rule: If the extension of A includes the extension of B (i.e., A ⊃ B), then P (A) ≥ P (B). Because the set of possibilities associated with a conjunction A&B is included in the set of possibilities associated with B, the same principle can also be expressed by the conjunction rule P (A&B) ≤ P (B): A conjunction cannot be more probable than one of its constituents. This rule holds regardless of whether A and B are independent and is valid for any probability assignment on the same sample space. Furthermore, it applies not only to the standard probability calculus, but also to nonstandard models such as upper and lower probability (Dempster, 1967; Suppes, 1975), belief function (Shafer, 1976), Baconian probability (Cohen, 1977), rational belief (Kyburg, 1983), and possibility theory (Zadeh, 1978). [Heuristics and Biases: The Psychology of Intuitive Judgment; Gilovich et al, 2002]
Fortune held back by Love
Guido Reni (1575 - 1642)
In contrast to formal probability theories of falling in love, intuitive judgments of probability are generally utilized. People do not normally analyze the experience of falling in love into exhaustive lists of possibilities or evaluate compound probabilities by aggregating elementary ones.
Instead, they commonly use a limited number of heuristics, such as representativeness and availability (Kahneman et al., 1982). Our conception of judgmental heuristics is based on natural assessments that are routinely carried out as part of the perception of events and the comprehension of the messages. Such natural assessments include computations of similarity and representativeness, attributions of causality, and evaluations of the availability of associations and exemplars.
These assessments are performed even in the absence of a specific task set, although their results are used to meet task demands as they arise. For example, the mere mention of "motorcycles" will send most cultured women reeling, while the mention of a favorite opera, painter, or musical score would be received with great attentiveness. Similarly, the mentioning of specific, negative-thought inducing subjects such as bouts with illness, professional failures or challenges, or personal family tensions might equally cause a potential suitor to run for the hills.
Giovanni di Niccolò de Luteri 'Dosso Dossi' (1490 - 1542)
The assessments made regarding a potential mate or lover are more closely related to a running list of the qualities one seeks in another. Generally the qualities one seeks are directly proportional to their socioeconomic status, educational attainment level, desirable character traits, and physical attractiveness. The more complex an individual, the more complex the list of desirable traits and qualities. The more flexible an individual, the higher the probability an individual will consider the "life story" associated with a given union rather than a specific list of qualities and features. For example, a well-traveled individual will more than likely prefer interactions with an equally well-traveled individual or an individual with the means/interest to travel.
The Whaleship "Emma C. Jones" off Round Hills, New Bedford (1854)
William Bradford (c. 1590 - 1697)
The probability that one will fall in love with the person seated next to them in a coffee shop is probably the same as it ever was; however, the probability that two individuals will continue their liaison beyond that offered during the initial time it takes to consume a warm beverage is more complex than ever before. In an age of increasing importance placed on self-understanding, discerning individuals know who they are and what they're looking for in another. Irrespective of the strategies or self-talks associated with a given list of prerequisites or mate-selection parameters, the proportion of people who go on second dates is ultimately based on how the other person makes them feel inside.
Le Ravissement de Psyche (The Rapture of Psyche)
William-Adolphe Bouguereau (1825 - 1905)