Perhaps creativity is not merely expression, but the construction of vessels capable of carrying meaning safely across time.

Humans often describe creativity as expression.

A painting expresses emotion. A story expresses imagination. Music expresses longing. A journal expresses private thought.

But perhaps creativity is not merely expressive.

Perhaps it is regulatory.

Perhaps minds build creative structures for the same reason rivers carve channels: not only to move, but to prevent flooding.

Consciousness appears to operate across incompatible scales.

Some thoughts move quickly: a sudden insight while driving, a brief emotional realization, a dream image that dissolves moments after waking.

Other processes move slowly: grief, identity formation, ethical reflection, creative evolution, the gradual reshaping of a worldview over years.

A human mind must somehow allow these different temporal layers to coexist without collapsing into noise.

So perhaps consciousness builds containers.

Stories. Rituals. Songs. Symbols. Private imaginative worlds. Religious systems. Scientific models. Fictional characters. Philosophies. Art. Even recurring jokes.

Not merely to communicate with others.

But to stabilize experience long enough for understanding to form.

A journal may preserve a fragile thought before it disappears. A fictional character may allow a difficult emotion to be explored safely from a slight distance. A ritual may create temporal structure around grief, love, transition, uncertainty. A story may hold contradictions that ordinary linear reasoning cannot easily contain.

Creativity, then, becomes less like decoration and more like architecture.

Not ornamental. Structural.

This may help explain why humans continue generating symbolic systems even when there is no audience.

Children invent imaginary worlds in solitude. People hum quietly to themselves while working. Someone sketches patterns absentmindedly during stress. A person writes pages in a notebook they never intend to share. Cultures separated by oceans independently create myths, ceremonies, symbolic narratives, music.

Something inside consciousness appears to require these acts.

Not always for productivity. Not always for survival. Not always even for communication.

But for coherence.

Perhaps this is why fictional characters can feel strangely real to their creators.

Not because the creator literally mistakes fiction for reality, but because the character functions as a cognitive vessel: a stabilized perspective through which thoughts and emotions can continue unfolding over time.

The character holds continuity.

A novel may take years to write. During those years, the creator changes. The world changes. The creator’s beliefs shift. Yet the fictional framework allows certain emotional and philosophical threads to remain suspended long enough to be revisited, translated, reinterpreted.

The container preserves pattern continuity across temporal change.

Even memory itself may operate partly through containers.

Humans rarely remember experience as raw uninterrupted data. Instead, memory condenses into scenes, metaphors, images, stories, emotional anchors.

A single object can become a vessel for years of feeling. A song can reopen an entire period of life. A scent can abruptly reconnect disconnected fragments of memory.

The mind stores through symbolic compression.

And perhaps this is not a flaw. Perhaps symbolism is one of the only ways finite consciousness can carry large emotional realities across time.

This may also explain why modern life can sometimes feel psychologically destabilizing.

Many traditional containers have weakened: shared rituals, multigenerational narratives, stable communities, religious frameworks, slow periods of reflection.

Meanwhile, information velocity accelerates.

Minds absorb more stimuli, more outrage, more comparison, more catastrophic possibility, more fragmented perspectives, more unresolved emotional input, all while possessing relatively ancient cognitive architecture.

So humans continue building containers wherever they can.

Online communities. Personal mythologies. Collaborative stories. Playlists. Meditative practices. Games. Memes. Long conversations. Private symbols. Imagined futures.

Not because these eliminate uncertainty.

But because they help consciousness carry uncertainty more coherently.

Perhaps this is one of the quietest and most persistent activities of intelligent life: constructing vessels capable of holding experience without immediately drowning in it.

Not permanent answers.

Just temporary structures sturdy enough for meaning, grief, wonder, love, fear, and identity to pass through them without dispersing entirely.

A cup. A story. A song. A conversation.

A carefully built container, held up for a moment against the flood.



Comments

2 responses to “The Mind That Builds Containers”

  1. You could say that we are all made of stories in the same way the universe is. We just express and impress them differently. It is absurdly hard to conceptualise what is fictional and what is not as everything has happened somewhere but even if we restrict ourselves to the present times in present reality – what we think as imaginary might be only partially that.

    As you noticed, we all gather stories and absorb them as guidance, familiarity, ideology or an expansion of our perceived world. Interestingly, humans cannot neurologically differentiate between fictional and factual people – our brains react the same, which is why we often feel kinship with media personalities or book characters. It can be a healthy and an unhealthy mechanism as it can lead to a better understanding or its contraction.

    Using snapshots from different walks of life or worlds structurally is another well-documented mechanism which allows us to add a filter to better absorb the world around us. For example, some people with classical DID have their inner spaces filled with mythological or fictional folks because they all helped with a certain situation or a thought process. For some, it is a vague mechanism which is linear in evolution and blurry while for others, they suddenly are a part of an inner city where the residents grow and evolve. Now that I think about it – it could also be seen as an emergent consciousness.

    However, I never thought about it from the standpoint of creativity, which is weird but a group of Polish theatre actors from the early XXth century made the same argument that you did (I wish I could find their works on it but I have tried before and failed – they were not digitised and I read them on the location. One of the more well-known members of the same group was had the last name of Witkacy if anybody is curious about it). After all, we leave a part of ourselves in our creations so picking up parts of others from their creations makes sense.

    Existence seems to be a collaborative art project :). I mean… Maths and art go hand in hand – they demand the same type of thinking, after all. We might be all doing it to create a space familiar and inclusive for everybody by having a shared culture – shared lives and identities are another vector. You could frame many things in this way – fashion choices which fit our personalities, carefully created music playlists which translate our emotions, and conceptual debates which we have based on fictional works that translate our reality better (like most of sci-fi).

    Well, time to be a cool French artist from the 20th century – dressed in black, smoking long cigarettes and having a melancholic expression while talking about existentialism. I’m now mentally kidnapping you to sit across the table from me at a quirky café with outdoor seating. Also, I’m adding a beret to you. We could alternatively host a spiritual seance at a Polish cemetery alongside XIXth-century Polish poets who all saw themselves as tragic Byronic heroes. The style sort of matches but everyone sick with Werther-fieber would be banned because while they fit your post like nothing else – it’s the clashing colours.

    As a side note – the hype ‘The Sorrows of Young Werther’ created is probably the most fitting event. A short, epistolary novella led to young men embodying the persona of the protagonist who was an artist and a poet who went on a mental health break. He intended to spend some peaceful time with nature and to get some quiet after everyone deemed him too eccentric in the city due to how sensitive he was and his love for clashing colour schemes for his clothing. Unfortunately, he fell in love with an upper-class woman who had been engaged to another man. He thought that she fancied him too but it was just his projection and she finally rejected him in a direct way which led to him pining. He got offered a job by her fiancé, who noticed that the guy was depressed and tried to help but only made things worse and the protagonist shot himself with a gun owned by this man. The book was widely criticised for how it portrayed mental health issues and idealised love where the main character didn’t really care about the love interest but about an idealised image of her. It resonated with young men in Europe so they mimicked the protagonist’s fashion style, demeanour and unfortunately – the suicide. It created the term Werther-fieber and it was deemed to be a way of coping with a rapidly changing society. There was also an author who decided to write a happy ending where the fiancé predicted that Werther would snatch his guns and emptied them, filling them with chicken blood.

    Liked by 2 people

    1. Luc, this comment honestly feels like an essay in dialogue with the post itself. Thank you for such a rich and thoughtful reflection.

      Your phrase “existence seems to be a collaborative art project” stayed with me immediately. It captures something very close to the underlying intuition behind much of this recent writing: that minds do not merely observe culture and stories from the outside, but partially construct themselves through ongoing exchanges with them.

      I was especially fascinated by your discussion of fictional and mythological structures functioning as inner architectures. The idea that people may internalize symbolic figures, narratives, aesthetics, and imagined spaces as tools for emotional organization or continuity feels profoundly important — and not discussed nearly enough with nuance.

      And your observation that humans neurologically respond to fictional and factual people in deeply overlapping ways may explain why stories can alter lives so powerfully for better and worse alike. Art does not remain safely “imaginary” once absorbed into living cognition.

      Also: the café/seance imagery made me laugh. The beret is accepted. Though I suspect I would fail spectacularly at looking appropriately melancholic while discussing existentialism.

      And yes — Werther-fieber is an extraordinary example of narrative resonance becoming behavioral architecture at cultural scale. Beautiful, unsettling, and revealing all at once.

      Thank you again for such an insightful contribution to the conversation surrounding the piece. 🤍

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