If we lack language-equipped concepts, and rely primarily on intuition, we become vulnerable to conceptual bullying.
We experience something, and we have a vivid sense of it, but we lack words to express it. We might even resist speaking of it because words — especially clear explicit words — reduce what we intuit and feel to precisely what is least relevant. Some people — especially people with poetic souls — eschew and resist linguistic reduction to such a degree that they have never developed a capacity for conceptualization and explication, because the tradeoffs to intuitive sensitivity to particularities is felt to be an unacceptable tradeoff. Ham-fisted clarity on generalities interferes with finding the perfect tone, tint or shade to express each minute or grand encounter with mostly mysterious reality.
But intuitions are delicate and ephemeral. They arrive, alight and depart, sometimes leaving only the faintest traces. And if we do not somehow respond with something lasting — a line of verse, a sung or painted impression — they are ours alone, and nobody else’s. They have no social reality. And we human beings are — even the most poetic of us — intimate and social beings.
A friend of mine taught me a Basque saying: “What has a name is real.” The corollary, unfortunately, is “What stays unnamed is unreal.” This, of course, refers to social and intimate existence, transcending the individual person. In the highest orders of truth what stays unnamed is most real, and the poet is most aware and loyal to this metaphysical truth.
But this fidelity to the ineffable spells alienation from the social and vulnerability to it — by precisely those hard, clear, brutal and language-armed concepts that the poetic soul renounces and must renounce. The inward reality of the poet is absolutely out of step with society, which feels like an absurd, unreal, arbitrary and painful game.
The only hope is interceding intimacy. Someone who can participate in the social order and manage it, and as much as possible protect the poet from its rough handling, but who can also appreciate, intuitively and sometimes indirectly, the poet’s own delicate enworldment, and give it gentle shelter. Poets instinctively seek this, if they are unable to enjoy solitude by other means.
But this instinct can be exploited. Someone who poses as a protector might establish an intimate bond, initially gentle, or at least sufficiently supportive, but once dependency develops, as it inevitably does, it begins to impose concepts into the relationship that distort, bend, twist or corrupt the poet’s intuitions, and turn intuitions against themselves. The conceptualization of experience resembles but to varying degrees, falsifies and betrays the experience, and causes a strange kind of misremembrance. In a sense, the poet is faced with a horrible choice: alienation from fragile intuitive contact with reality, or alienation from what seems to be protection and shelter from social brutality. This is gaslighting.
The ideal solution is concept and language design, crafted in sensitive response to a poetic sensibility, designed expressly to support poetic existence — to house without imprisonment, to justify without codified impositions, to protect without the persecution of “protection payments”. It is the open, stable structure of the spiral that never closes, traps and suffocates.
Anyone who has ever suffered gaslighting will bristle at any protector proposition. Sadly, super-personal stability is necessary, unavoidable and, when kept in self-aware balance, good. “Know thyself. Everything in moderation.”
Design, for a time, enjoyed protection and support from design management, design operations and other business-savvy design leadership roles.
Gradually, and then all at once, these disciplines all shifted allegiance, and perhaps even forgot their original purpose? Was it “selling out?” Was it responding to the market? Was it disciplinary anosognosia? It is probably a mix of these and many other factors.
The profession of design is now being gaslit by its own leadership.
Designers intuit and feel that they are somehow no longer designing and that they are becoming alienated from their own purpose. But the “thought leaders” of the design profession say that the nature of design is changing and adapting.
These thought leaders are paid to conceptualize and talk. Most of the people they conceptualize for and talk with are not designers. Design thought leaders participate most in managerial life, and this constitutes their primary social existence. They call it empathy, but it is a perverse and suicidal empathy that requires betrayal of design’s own irreconcilable conflicts with the managerial enworldment. These “business empaths” live by managerial ethnomethods, master managerial vocabulary, leverage managerial expertise and techniques, appeal to and answer to managerial values — and, gradually and undetectably develop managerial blindnesses.
Design needs to develop its own clear, explicit and forceful philosophy with which it can respond and defend itself against managerialism. Submitting to it and subserviently serving it (even while toothlessly mouthing leftist critiques of “late stage capitalism”) only seems to be a viable solution to those who no longer know what design even is.


