On a rare afternoon with no urgent homework, I take some leisure time to explore new music online. I come up with Maya Filipic – one of many hidden gems buried in Jamendo’s Creative-Commons music collection. I find I love the first song.
The first time I listen to the song, I’m enraptured. It expresses emotions and experiences that I’ve never felt, or if I’ve felt them, have never vocalized in that way. The song is new and vibrant and inspiring. So I do what’s most reasonable: I listen to it again and again and again.
Once I’ve listened to the song around 20 times, something has changed. In a best-case scenario, the song is still beautiful and poignant – but I know its every turn and every twist; it no longer surprises me, and because of this, loses some of its excitement. In the worst case, something about the song still appeals to me but I keep listening to it mainly out of habit; I’m sick of it. Either way, the song is like an expendable resource – I can only enjoy it so long before it gets “used up” and I have to find something else. This pattern really grates on me. What a pathetic, zero-sum way to live my music-loving life!
At the same time, I’m confused by a pretty simple question: What changed, exactly? What does “getting used to” (and in some cases, “using up” enjoyment in) a song entail? Clearly the song isn’t finite in and of itself; as a non-empirical and subjective entity, it doesn’t have tangible physical limitations and operates on the logic of ideas, not particles. And just as clearly, the combinations of sounds that relay the song haven’t changed at all; they are exactly the same as the first time I heard them. The only way to account for my increasing familiarity with the song is to suppose that I’ve changed.
That’s easy to say. But what does “I’ve changed” mean? It’s more than just a change in my subjective experience, because I want to be experiencing the song as new and surprising and I can’t. Something about my stable self is creating that experience. But the change is subjective and interior to me; it isn’t physical and it isn’t directly observable in the empirical world. Thus the change has something to do with my identity.
More specifically, my identity has been familiarized with the perspective on the world occupied by the song. This means that the song will feel intimately familiar to me and not novel. But this should also have implications for how I look at the rest of the world, shouldn’t it? I won’t necessarily notice this overtly – but in the process of familiarizing with a song, aren’t I also adding to my ways of looking at the world? By this logic, every time I latch onto a new song that I like, I’m anchoring my experience to new perspectives and new corners of reality.
Still, it’s a shame that this process involves “using up” a song in such a way that I stop enjoying it. By familiarizing with a song, I’m increasing my experience base and my ability to look at the emotional world from different angles. But this process kind of requires that I lose the distant admiration of the song that I originally had. It would be nice to have my cake and eat it, too.
People are different from songs. Songs in and of themselves can’t change; they can just be interpreted through different lenses and perspectives. But people are a moving target, subjectively speaking. As I get to know someone, I’m learning more about them and increasing familiarity. If they never change one whit, and if I get to know them very very thoroughly, then it’s possible to tire of someone’s company. But two factors thwart any attempt to really thoroughly get to know someone:
- People have countless layers of complexity that defy full comprehension. Indeed, the attempt to comprehensively understand someone will probably change your perspective in the process, opening up new interpretations of the object personality.
- People are constantly growing and shifting in response to experience, and in response to your intersubjective flows. We’re moving targets by nature, and in accordance with Heisenberg, we can’t observe or learn about each other without influencing each other.
I’m testing out a new mind-trick (I love mind tricks) to feel better whenever I have that feeling of regret at getting so close to something that I enjoy its novelty less: All of the grounding for that excitement and appreciation is inside me now. I’ve eaten it up, and it makes up part of the experience base through which I interpret life. If I feel like I’ve lost that excitement and novelty, that’s because I’ve digested the excitement and added it to my identity. That’s something to be happy about.