During the Renaissance, the five senses were understood to form a hierarchical system from the highest sense of vision down to touch. Vision was correlated to fire and light, hearing to air, smell to vapour, taste to water, and touch to earth.
Perhaps the human fascination with fire stems from the totality of its sensory stimulation. The fire gives a flickering and glowing light, ever moving, ever changing. It crackles and hisses and fills the room with the smells of smoke and wood and perhaps even food. It penetrates us with its warmth. Every sense is stimulated and all of their associated modes of perception, such as memory and an awareness of time, are also brought into play, focused on the one experience of the fire. Together they create such an intense feeling of reality, of the "here and nowness" of the moment, that the fire becomes completely captivating.
In our minds, the drawings we had originally made for the columns and capitals were no more than first approximations of the final shapes. We assumed that we would work out the real shapes during construction, and left the inaccurate approximations on our drawings, just for the sake of the building permit. Fujita, used to working with architects in System B, assumed that whatever was on our drawings must be what we wanted, and must be implemented as drawn.
Anybody who was making those column capitals, if they had seen this "double" capital, and had been free to make something harmonious, would have done it differently. But Fujita's people, in System B, did not know how to be guided by reality. They were guided by "image".
So Fujita, in this situation, was not free to respond in a natural way to what they saw. They were trapped by the image-making process they were used to. But because of this, they doomed their own carpenters to a pretentious kind of slavery, producing whatever silly images they were told to do, without being able to ask themselves whether they were beautiful, and unable to use their own sense of reality to make them better.