Phenomenology of the Risk
A contractual obligation naturally forms when parties agree on performance by a “certain date” to yield a “certain sum.” Certainty defines the negative space that controls for the risk, chipping away what it is by demanding what it isn’t. It’s a work of art, a phenomenon, yielding to a proper interpretation, or what the artist intended.
At maturity, “the risk” (the abstraction of reality) conforms to the object (the measurable existence) of confirmation (previously random, or unknown, but determined, nevertheless, existing without abstraction by default). The risk, then, is a phenomenology–a work of art on demand, yielding, nevertheless, to a command performance (the proprietary ownership of the author, which is the fully culpable property–the “natural identity”–of authority, yielding to “the intendency”) on the due date.
“Beauty is in the eye of the beholder” is as much about utility as aesthetics. What pleases the user, Steve Jobs recognized, is not only a pleasing appearance but use value. By pursuing the value of both dimensions, Apple not only discovered aesthetic utility, but measured it, discovering what consumers were willing to pay for “it” on demand, yielding to a huge marginal profit.
Apple products are a phenomenal success, measured by the amount of cash “it” has. To what do we attribute that success. How do we measure it, exactly?
Did Steve Jobs’ organizational skill discover the utility? Or did the utility discover the organized form, like the way gravity (the massive, indefinite dimension of space) presses in on objects, “in-tending” (over time) to shape the natural beauty and “The Music of the Spheres,” abstracting the reality of existence, existing the natural standard, performed on demand at maturity.
Did “the natural accumulation of the capital” create the huge hoard of Apple cash, or was it beauty, existing in the eye of The Beholder, demanding the existence, on time, at maturity, existing “the wrong way to measure doing it right.”