For an enworldment to become culturally relevant, its praxis must not only be good from the inside but it must also be compelling (beautiful, sublime, fascinating) from the outside.
“Inside”: for those who understand and participate in the enworldment, existence becomes manifestly good.
“Outside”: for those who experience only the enworldment’s manifestations — its words, deeds and expressions — it hovers between comprehension and bafflement in that range of semi-understanding we experience as mystery.
Mystery suggests potential but unrealized intelligibility.
The potency of mystery is a function of the actuality of the enworldment that generates its appearance. If one manages to “get inside” the aesthetic, a new enworldment will spontaneously resolve itself. A new understanding — a new stance — a new priority — a new way emerges — and everything is now different in the most important sense, though most things stay mostly the same. It is the precise opposite of magic, though it is inconceivably magical.
False mysteriousness — a vice of artistic and religious charlatans — tries to use mystery effects to suggest an enworldment that will never spontaneously resolve — will never become second-natural — at any degree of understanding or familiarity with the mystifying words, ways or artifacts.
And then there’s technik.
Technik assures us that it is possible, through great combinatory effort, that we might find an order that will gives each sundry part — including you and me — a place in the system. Alienation will end. Clarity will reign. And this all-embracing outer technik is our only hope for inner peace. This is the promise of positivist thought and art.
Technik’s plan is to willfully permute our way to an artificial paradise we will learn to love.