Month: March 2024

In this book, Graham Harman introduces and explores the concept of Object-Oriented Ontology (OOO), a branch of metaphysics that rejects the privileging of human existence over the existence of nonhuman objects. This philosophy contends that objects exist independently of human perception and have their own reality and agency. Harman argues against traditional scientific and philosophical views that only consider the usefulness of objects in relation to humans or that see objects merely as the sum of their parts and their effects on other things.

OOO promotes a democratic view of all objects, treating humans, animals, plants, and inanimate things as possessing equally profound depths of being and reality. Harman’s work challenges us to consider the rich inner lives and interactions of objects beyond their utility or their observable relations to other objects. This theory has implications across various fields, including art, architecture, and environmental ethics, suggesting new ways to relate to and understand the world around us.

Harman’s “Object-Oriented Ontology” is a foundational text for those interested in contemporary philosophy, metaphysics, and ecological thought, offering a fresh perspective on how everything in the universe—from the most mundane objects to complex human cultures—interacts and exists.

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Several articles discuss Harman’s OOO and its implications across various fields, offering insights into his philosophical contributions and the broader discussion surrounding OOO:

1. Harman discusses the basic ideas of his conception of object-oriented ontology, emphasizing its departure from traditional human-centric ontologies and its implications for understanding the universe’s structure (Harman & Pinho, 2020).
2. The dialogue between object-oriented ontology and architecture explores how OOO’s principles can inform and transform architectural design and discourse, proposing new ways of conceptualizing relationships between space, objects, and human interaction (Weir & Harman, 2022).
3. In exploring the ontology of social objects, OOO’s application to social theory is examined, highlighting how Harman’s theory provides a novel framework for understanding social entities beyond their material constituents or effects on others (Kleinherenbrink & Gusman, 2018).
4. The critique and extension of Harman’s OOO through engagement with other philosophical traditions, such as Sartre’s theory of the practico-inert, further enrich the discussion around OOO’s capacity to address questions of time, object relations, and social theory (Kleinherenbrink, 2019).

Object-Oriented Ontology represents a significant shift in philosophical thought, challenging long-standing human-centric models and proposing a more democratic ontological framework that places all objects, regardless of their nature, on an equal footing. Harman’s work in OOO has sparked lively debates across disciplines, underscoring its potential to reshape our understanding of the world.

[Written and illustrated with the help of Scholar-GPT and Dall-E.]

A question posed by a photographer online highlights the significance of “Low-Level Information Factors”… In this case, just one explicitly…

Removing the colour and scent from flowers, particularly those commonly used in romantic gestures like roses, would significantly alter the way they are perceived and may affect the feelings they evoke. Colour and scent are two primary attributes that contribute to the aesthetic appeal and emotional impact of flowers.

1. Colour: The colour of a flower is one of its most striking features. It’s often the first thing people notice and can have a profound impact on emotions. Different colours can convey different messages and feelings. For example, red roses are associated with love and passion, while yellow roses symbolize friendship. Removing the colour would eliminate these associations and could diminish the flower’s ability to convey specific emotional messages.
2. Scent: The fragrance of a flower also plays a crucial role in its appeal. Scent can trigger memories, enhance mood, and create a multi-sensory experience. For many, the scent of a flower like a rose is inseparable from its romantic connotations. Removing the scent could make the flower less memorable and potentially less impactful on an emotional level.

While the shape and form of the flower would remain, and could still be appreciated for its natural beauty, the lack of colour and scent would likely reduce the flower’s traditional romantic symbolism. However, the significance of a gesture often lies in the intent behind it. If a flower is given with sincerity and love, it could still evoke feelings of romance, albeit perhaps not as strongly as when the flower’s full sensory experience is intact.

The importance of these sensory attributes highlights how intertwined our perceptions and emotions are with the full experience of natural beauty. Removing key characteristics like colour and scent from flowers would undeniably change the way they are received, potentially requiring a shift in how we express and interpret romantic gestures.