Showing posts with label Pirandello. Show all posts
Showing posts with label Pirandello. Show all posts

Playing With Your Self

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Serious                              -                      Playful
Solid                                 -                       Liquid
Actuality                           -                       Potentiality
Closed                               -                      Open
Rest                                   -                      Motion


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We realize that what we like and what our tastes are don’t necessarily define the spirit of what we truly are deep down inside. And that we should have fun with our tastes.

Those pursuits—searching out songs, finding out about artists, or just experiences that entertain us, that delight us — that’s what makes life fun and worth living.

And I want us to remember how playful that should be. And the minute it starts to hold us back or feel stressful, or that we have to cling too hard to any one idea of ourselves, it’s just good to step back and kind of remember that it’s all just supposed to be fun. So I guess that means to not take things too seriously.

[Andrew WK]


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In the organizational context, Nevis saw resistance to change--for example, someone's refusing to "join in"--as an expression of the differentiation of opposites (polar differentiation) [...]

Seeing this resistance as an inner conflict - rather than just seeing the loner as being obstinate - the Gestalt practitioner has something to work with [...]

One could, for example, ask the individual to experiment with what it feels like to move in the direction of one pole or the other. In so doing, he can begin to see his resistance as a matter of choices, and become aware that he is being pulled in different directions by opposing (and equally valid) needs.

[Herb Stevenson]
'Paradox: A Gestalt Theory of Change'


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Do you believe you can know yourselves if you don't somehow construct yourselves? ... We can only know what we succeed in giving form to.

Ah, you believe only houses are constructed? I construct myself continually and I construct you, and you do the same.

And the construction lasts as long as the material of our feelings doesn't crumble and as long as the cement of our will lasts.

Why do you believe firmness of will is so highly touted, and constancy of feelings? The former has only to waver a little, and the latter has only to be altered by one degree or change ever so slightly, and it's goodbye to our reality! We realize immediately that it was only our delusion.

Firmness of will, then. Constancy of feelings. Hang on, hang on, to avoid these plunges into the void, to keep from encountering these unwelcome surprises.

But, oh! what fine constructions result.

[Luigi Pirandello]
One, No One & One Hundred Thousand, p.41, 42


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Sickness, in Pirandello as in many other great writers, is experienced as a situation in which all automatic behavior is suspended and the perceptive faculties, outside of the normal rules, seem to expand and see "with other eyes".

'One, No one and One Hundred Thousand'


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Related posts:-
The Colour Wheel
Sailing the Turbulent Seas
The Oak and the Stream
Walk a Straight Line
Incursions of the unknown 
Hold it Still
Don't commit to it
Shedding Skin 
Status Quo
Satisfying Narratives
Guiding Fiction
Creative Partnerships
Do Not Disturb 
Break-down
A Safe Space 

Play




Solid                 -            Liquid
Creation            -            Destruction
Intentional        -            Random
Reasoned          -            Arbitrary
Known              -            Unknown
Truth                 -            Myth
Closed               -            Open
Control              -            Chaos
Positive              -            Negative





The artist plays with the structure, but does not create the structure. They do not make tautologies ("dependable systems in which everyone can agree on the terms and oppositions"), they break them. 

In the language of complexity theory, artists are those who play with constraints. Constraints define systems, allowing order to emerge from chaos.  A rule like 'i before e, except after c' adds structure and sense to language, allowing us to communicate in a more complex, and nuanced, way. But what if e came before i - what would that look like? What possibilities would this rearrangement open up? These are the concerns of the artist, of the one who plays with constraints.

The dance of the artist is, like that of Shiva, a destructive one. Structures move and shake from its tremors, and openings emerge; cracks and holes in which new possibilities can enter. The structure may crumble and fall, or it may absorb this new information and become enlarged.

"Without the random, there can be no new thing [...] creative thought must always contain a random component."

Artists then, are interested in the random. And randomness is synonymous with deconstruction, disorganization. In creating something we impose sense and order, and in destroying it we do the opposite.

The arts threaten the known world. They give lie to the idea that we can have a totality of knowledge - or, indeed, of anything.

The artist has a child's relation to the world - Bourdieu describes their existence as 'a sort of children's game' - which stands in contrast to the citizen, who takes the adult approach.  

Psychoanalysis, like art, looks beyond the accepted conventions of the everyday in order to examine and 'play' with its underlying assumptions. By digging deeper - exploring the depths - we gain greater insight into how things are and how to change them. It should come as no surprise, then, that many psychologists held up the example of the artist - autonomous, creative, self-making - as an 'ideal' mode of existence.

The artist lives in the liminal, complex realm - between order and chaos - where he plays with connections. He is more sensitive, the canary in the coal-mine, and creates art and ritual in order to transmute anxiety (produced by contact with chaos) into meaning.





I am really interested in the different ways that language functions.

It's difficult to see what the functioning edges of language are.

The place where it communicates best and most easily is also the place where language is the least interesting and emotionally involving - such as the functional way we understand the word "sing" or the sentence "Pick up the pencil."

When these functional edges are explored, however, other areas of your mind make you aware of language potential.

I think the point where language starts to break down as a useful tool for communication is the same edge where poetry or art occurs.

Roland Barthes has written about the pleasure that is derived from reading when what is known rubs up against what is unknown, or when correct grammar rubs up against nongrammar. In other words, if one context is different from the context that was given to you by the writer, two different kinds of things you understand rub against each other.

When language begins to break down a little bit, it becomes exciting and communicates in nearly the simplest way that it can function: you are forced to be aware of the sounds and the poetic parts of words.

If you deal only with what is known, you'll have redundancy; on the other hand, if you deal only with the unknown, you cannot communicate at all. There is always some combination of the two, and it is how they touch each other that makes communication interesting.

Too much of one or the other is either unintelligible or boring, but the tension of being almost too far in either direction is very interesting to think about.

Art is interesting to me when it ceases to function as art - when what we know as painting stops being painting, or when printmaking ceases to be printmaking - whenever art doesn't read the way we are used to.

In this manner, a good piece of art continues to function, revealing new meaning and remaining exciting for a long time, even though our vision of what art is supposed to be keeps changing.

 After a while, however, our point of view as to how art can function changes radically enough that the work of art becomes art history. Eventually, our perspective is altered so much that its functions just aren't available to us anymore and art becomes archaeology.

[Bruce Nauman]
Please Pay Attention Please ('Talking With Bruce Nauman: An Interview, 1989')





It's like I'm reading a book... and it's a book I deeply love.

But I'm reading it slowly now. So the words are really far apart and the spaces between the words are almost infinite.

I can still feel you... and the words of our story... but it's in this endless space between the words that I'm finding myself now.

It's a place that's not of the physical world. It's where everything else is that I didn't even know existed.

Dialogue from 'Her'



"From West to East" is a commonplace journalistic structure for an article. "From West to Female" is more like poetry. By jumping from one criterion, one binary, to another, it represents a real difference rather than the staged differences of the binary. It's fresh!

[language becomes] mere texture when dichotomy ends.

What the remapping of the binaries produces, I think, is something irrational: beauty. 

It also produces a sort of self-knowledge; the realisation that all truths are provisional, contextual, consensual, habitual. It's therefore good to break one's habits from time to time -- to "binary hop".

Only poets -- those incorrigible binary-hoppers! -- can really change the way we see, because only they (with their under-the-hood view of language) are willing to abandon cookie-cutting binaries, or pick them up and play around with them.

Unfortunately poets can't organize anything, and can't make any lasting systems. Because to organize, you need to reduce and repeat. You need a dependable system in which everyone agrees on the terms and the oppositions.

And there we have the tragedy of human life. The people who can change things can't organize anything, and the people who can organize things can't change anything.

[Momus]
'Binary hopping'





I think what artists do, and what people who make culture do, is somehow produce simulators where new ideas [...] can be explored.

There's a very interesting book by Lakoff and Johnson, that famous thirties singing team, it's a book about metaphor, it's called Metaphors We Live By. They give a very clear example of the effect of metaphor. They say we use in our culture the metaphor, argument is war. All of our language about argument "she defeated him", "he attacked her position", so on and so on, they are all arguments that relate to fighting.

When we think about the process of arguing, we tend to then reconstrue our possibilities in terms of that metaphor.

What Lakoff and Johnson say is suppose that somebody had said argument is dance, suppose that was the dominant metaphor. So instead of it being seen you have the process where one person defeats another, it becomes a process where two people together make something beautiful between them. We could have that metaphor for argument, we don't.

But do you understand that a shift of that kind produces an entirely different kind of discourse. How the shift from one way of dealing in activity that we all engage in to another changes that activity.

Suddenly our language of possibilities is renewed and different.

What I'm saying, I suppose [is that] we're saddled with a whole set of metaphors [...] about how the world works, how things organize themselves, how things are controlled, what possibilities there are.

Generative art in general is a way of not throwing those out, we don't get rid of old metaphors, we expand them to include more. These things still have value, but we want to include these things as well.

My feeling about artists is that we are metaphor explorers of some kind. ... An object of culture does all of the following, it innovates, it recycles, it clearly and explicitly rejects, and it ignores. Any artist's work that is doing all those four things and is doing all those four things through the metaphors that dominate our thinking.

[Brian Eno]
'Evolving metaphors, in my opinion, is what artists do'




To stop for a bit and watch someone who is doing something, even the most obvious and customary thing in his life; to look at him in such a way that he begins to suspect what he is doing is not clear to us and it could also not be clear to him: this suffices to make that security tarnish and falter.

[Luigi Pirandello]
One, No One & One Hundred Thousand, p.108





Silence […] is a scandal to speech, an offence to the adequacy claimed by the empirical orders of language. What I have called the managerial motive in language is, more desperately, the insistence of those who use it that there is nothing it cannot name.

Poetic language refutes this observation by transgressing it. Bourgeois language insists on finding signifieds for every signifier, and containing the entire field within the rule of law: the law is the homogeneity of signification. Julia Kristeva has suggested a psychoanalytic understanding of this law and of poetic language as its infringement.

[…] if experience is, in practice, divided into official and unofficial, authoritative and occult; what corresponds to this division, in language, is the distinction between discourse, with its official diction, and the several poetries, with their several ‘contradictions’.

It is the aim of management to accommodate every apparent contradiction within the standard diction by neutralising the offensive words.

[Denis Donoghue]
The Arts Without Mystery, p. 96





If philosophy and science helps us understand the world better by building it up with new explanations, art helps us understand the world less, by taking these explanations and punching holes in them - not just to confuse everyone, but to build another kind of knowledge; and as a political statement, to tell people ‘stay curious.’ 

That thing you thought you understood, maybe you don’t anymore. That process of undoing knowledge is a productive process, and one that we should always be open to.

[Anthony Huberman]
'Anthony Huberman on For the Blind Man…' 





[...] deconstruction is always already at work, even in those texts that would seem most expressly committed to a 'logocentric' order of assumptions.

[Christopher Norris]
Derrida, p. 57





The general proposition of the eighteenth century, indeed of all previous centuries [...] is that there is a nature of things, there is a rerum natura, there is a structure of things.

For the romantics this was profoundly false.

There was no structure of things because that would hem us in, that would suffocate us. There must be a field for action. The potential is more real than the actual. What is made is dead. Once you have constructed a work of art, abandon it, because once it is constructed it is there, it is done for, it is last year's calendar. What is made, what has been constructed what has been already understood must be abandoned.

Glimpses, fragments, intimations, mystical illumination - that is the only way to seize reality, because any attempt to circumscribe it, any attempt to give a coherent account, any attempt to be harmonious, to have a beginning and a middle and an end, is essentially a perversion and a caricature of what is in its essence chaotic and shapeless [...] a tremendous great stream of self-realising will, the idea of imprisoning which is absurd and blasphemous.

That is the real fervid centre of romantic faith.

[Isaiah Berlin]
The Roots of Romanticism, p. 114-5





At times we need a rest from ourselves by looking upon, by looking upon, ourselves and, from an artistic distance, laughing over ourselves or weeping over ourselves.

We must discover the hero no less than the fool in our passion for knowledge; we must occasionally find pleasure in our folly, or we cannot continue to find pleasure in our wisdom. Precisely because we are at bottom grave and serious human beings - really, more weights than human beings—nothing does us as much good as a fool's cap: we need it in relation to ourselves—we need all exuberant, floating, dancing, mocking, childish, and blissful art lest we lose the freedom above things that our ideal demands of us. 

It would mean a relapse for us, with our irritable honesty, to get involved entirely in morality and, for the sake of the over-severe demands that we make on ourselves in these matters, to become virtuous monsters and scarecrows. 

We should be able also to stand above morality and not only to stand with the anxious stiffness of a man who is afraid of slipping and falling any moment, but also to float above it and play

How then could we possibly dispense with art—and with the fool? --And as long as you are in any way ashamed before yourselves, you do not yet belong with us.

[Friedrich Nietzsche]
The Gay Science, 107




The romantic theoretician – it is, of course, imprecise to speak of theory or thought in this context — lets the image do its own thinking. Abandoning himself to permutational or antithetical play with the ideas of others, he inflates linguistic designations of these ideas to an ambiguity rich in allusions.

Thus there are no romantic ideas, but only romanticized ideas.

This romantic way of dealing with things is based on the practice of constantly escaping from one sphere into another, to the alien “higher" third factor, and of blending ideas from different spheres.

The point around which the circle of the romantic play of forms turns is always occasional. Therefore, the romantic quasi argument can justify every state of affairs.

Today the French Revolution is what Burke thinks it is: abnormal idolatry and a senseless crime. Tomorrow it can also be “the natural force, the elective affinity of life oppressed and in fetters,” which breaks the bonds of moral considerations and forms, and so on.

[Carl Schmitt]
Political Romanticism, p. 144-5




Accessing the drives and rhythms that symbolic law and order typically repress, psychoanalytic practice, like the poetic text, revitalizes or reactivates the semiotic chora, a connection to the maternal body or to femininity. 

Such practices let loose the disorganizing energies of the body, the pleasurable rupture of sense and nonsense. They take productive advantage of the dialectical discord between semiotic and symbolic and thus keep this discord oriented toward dissent and protest rather than inner collapse. Although the semiotic resists the symbolic order, or cannot be contained by it, the two are always entangled and imbricated in language; drives both support and subvert the symbolic operation, bringing bodily rhythms and forces to signification, both impelling and pulling apart its organization and stases.

This disruptive potential of semiotic drives and rhythms is associated with negativity as a force of revolt, an excess, most archaically, the force of bodily expulsion, but more generally the forces that continually spur the dissolution of one's own organization.

Negativity maintains life, keeps it going by circulating energy, rendering the subject always in process. Through its movement, the subject is not a rigid identity, but always developing, reconfiguring itself through the interplay of drives and language, in the tensions between body and mirror image and between mirror image and self.

While Kristeva advocates for ‘poetic revolution,’ (meaning the ongoing process of reconfiguring language and oneself by exploiting the heterogeneities between semiotic and symbolic elements), she is sometimes read as a conservative thinker because of her commitment to maintaining a symbolic order and social contract.

The danger of a too strong or too weak symbolic order is that it encourages a return to abjection or melancholia, to the point prior to ego-formation, to a dissolution of the borders that maintain social life and creative subjectivity, contributing to the ego's collapse into an empty abyssal void and discouraging semiotic creativity.

Such a fragile, fragmented, disintegrating ego, always in search of objects to heal the rift of being, dreaming of a return to unity but suffering the nightmare of upheaval and collapse of identity, is especially susceptible to the traumatic impact of encountering the stranger, the unfamiliar other or alien who provokes turmoil and who is repudiated in a rebound to delirious narcissism and a reassertion of self-mastery and self-identity.

The stranger disturbs boundaries, indicating the failure to fully eliminate the refuse of identity and purify oneself.

Kristeva sees in the ethics of psychoanalysis, premised on self-division, being strange to oneself, the possibility of establishing an ethical relation to alterity, inviting it into our political bonds (and warding off the most virulent forms of abjection).

Where Irigaray aims to introduce sexual difference into the social contract and the domain of law and rights, Kristeva proposes that we introduce self-discord.

[Emily Zakin]
‘Psychoanalytic Feminism’, Stanford Encyclopedia of Philosophy




We may sympathize with Proust's view and envy insight, his observation, and his superbly subtle awareness of the motives of men and women: but we must disagree with his idea that the homosexual man is feminine.

Rather is he a child whose development is incomplete - a boy who has not yet matured into a man.

The homosexual search is often determined by an absence of a satisfactory identification in early life with the parent of the same sex; and in homosexual men it is common to find that the patient's father has been absent or in some way impossible to identify with.

A father who is hard, unapproachable, and overbearing may inspire such fear that the developing boy turns away from him. A weak, soft, and ineffective father does not provide a sufficiently forceful personality to evoke masculine qualities in his son. In either case there is a failure of identification, and the son turns away from his father to seek in others those masculine attributes which he needs for his own development.

If all goes well he finds them and, by modelling himself upon a teacher or friend, himself becomes what he has been looking for in others. But, if he is sufficiently discouraged or frightened, he may continue to feel that other men possess something to which he can never aspire, and so remain in a state of immaturity.

[Anthony Storr]
The Integrity of the Personality, p.113




A hypothesis is some idea which can be tested experimentally and proved or disproved from which theory or laws may be generated. We may, as we do in Cynefin, not attempt to prove or disprove a hypothesis but instead, construct a safe-to-fail experiment based on that hypothesis which runs in parallel with others.

Yes, this may prove or disprove the hypothesis, but the multiple parallel processes of hypothesis-based probes may change the dynamics of the situation to open up new possibilities for action. The value of the hypotheses can lie in this, it doesn’t matter so much if they are right or wrong.

[Dave Snowden]
'Conjectures and hypotheses'




Ritual dramas are not automatic expressions of folk spirit. They were created, just as were the poems, dances, and songs that heighten their impact, by individuals moving in a certain cultural sequence, formed by the tradition and forming it. Whether we call these individuals "poet-thinkers," "medicine men," or "shamans," terms used by Paul Radin (1957), seems unimportant.

Plainly, they were individuals who reacted with unusual sensitivity to the stresses of the life cycle and were faced, in extreme cases, with the alternative of breaking down or creating meaning out of apparent chaos. Let us call them primitive dramatists.

The meanings they created, the conflicts they symbolized, and sometimes resolved in their own "pantomimic" performances, were felt by the majority of so-called ordinary individuals. There was, of course, magic here too; but, more deeply, there was a perception of human nature that tied the group together.

The primitive dramatist served as the "lightning rod" for the commonly experienced anxieties, which, in concert with his peers and buttressed by tradition, the primitive individual was able to resolve.

This is not to say that the primitive dramatist simply invented meanings promiscuously. It was always done within a given socio-economic and natural setting. But he shaped dramatic forms through which the participants were able to clarify their own conflicts and more readily establish their own identities.

There was an organic tie, then, between the primitive dramatist and the people at large, the tie of creation and response, which is, in itself, a type of creation. The difference was that the dramatist lived under relatively continuous stress, most people only periodically so […] The distinctions are a matter of degree.

The very presence of the shamandramatist is a continuous reminder that life often balances on the knife edge between chaos and meaning, and that meaning is created or apprehended by man coming, as it were, naked into the world.

[Stanley Diamond]
'Plato and the Primitive'




The correlation of many and one, of becoming and being forms a game. Affirming becoming and affirming the being of becoming are the two moments of a game which are compounded with a third term, the player, the artist or the child.

The player-artist-child, Zeus-child: Dionysus, who the myth presents to us surrounded by his divine toys. The player temporarily abandons himself to life and temporarily fixes his gaze upon it; the artist places himself provisionally in his work and provisionally above it; the child plays, withdraws from the game and returns to it.

[Gilles Deleuze]
Nietzsche and Philosophy, p.24




[...] leaping is not dancing and betting is not playing. It will be noted how Zarathustra, without preconceptions, opposes playing to betting and dancing to leaping: it is the bad player who bets and above all it is the buffoon who leaps, who thinks that leaping means dancing, over-coming, going beyond.

If we mention Pascal's wager it is merely to conclude finally that it has nothing in common with the dicethrow. In the wager it is not at all a matter of affirming chance, the whole of chance, but, on the contrary, of fragmenting it into probabilities, of minting it into "chances of gain and loss".

[Gilles Deleuze]
Nietzsche and Philosophy, p.37




The power of falsehood must be taken as far as a will to deceive, an artistic will which alone is capable of competing with the ascetic ideal and successfully opposing it.

It is art which invents the lies that raise falsehood to this highest affirmative power, that turns the will to deceive into something which is affirmed in the power of falsehood.

For the artist, appearance no longer means the negation of the real in this world but this kind of selection, correction, redoubling and affirmation. Then truth perhaps takes on a new sense. Truth is appearance. Truth means bringing of power into effect, raising to the highest power.

In Nietzsche, "we the artists" = "we the seekers after knowledge or truth" = "we the inventors of new possibilities of life".

[Gilles Deleuze]
Nietzsche and Philosophy, p.103



Related posts:-
Everything and Nothing 
All is Change 
Centre / Periphery
Inflation / Deflation
Guiding Fiction
Forever Becoming
Mind your language 
Dreams from dreams
Separations and Bridges
Making connections
Shades of gray
Escaping Uncertainty
Do Not Disturb
Taking the rough with the smooth
Negative Capability
The Tyranny of Novelty
In-between
Levels of Meaning
The Eternal Ideas
Silence  

Solid Ground




Liquid                       -                    Solid
Undefined                -                    Defined
Chaos                        -                   Logos
Unsure                     -                     Sure
Change                     -                    Permanence
Unknown                 -                    Known
Plurality                   -                    Unity
Decentrate                -                    Concentrate
Complex                  -                    Simple
Impure                      -                    Pure
Heterogenous           -                    Homogenous
Immanent                 -                    Transcendent
Imperfect                  -                    Perfect
Earth                        -                    Heavens
Matter                       -                    Pattern
Mother                      -                    Father
Man                          -                    God




Ultimately, God is useful because He gives a seal of approval. In a world in which nothing is certain - in which all footholds, under enough pressure, crack and crumble into smaller pieces - He provides certainty; a bedrock.

Everything is incomplete and so everything can be broken apart. Even the most solid-seeming of entities has a weakness, an opening. God, however, is complete, and so He provides a full stop to the regress. In Lacanian terms, He is the exception that grounds the universal rule.

This is why many irreligious people can be said to display religious behaviours. Inasmuch as the scientists at CERN are looking for a bedrock, they are, metaphorically speaking, looking for God. They are looking for something to serve the same purpose: to provide certainty, an end to the regress.

In some sense, then, any search for certainty is a search for God. If we accept that nothing can ever be truly certain - that everything is incomplete - then all certainty is a form of faith: an expedient conviction.





Oh, if only it were possible to find understanding," Joseph exclaimed.


"If only there were a dogma to believe in. Everything is contradictory, everything tangential; there are no certainties anywhere.

Everything can be interpreted one way and then again interpreted in the opposite sense. The whole of world history can be explained as development and progress and can also be seen as nothing but decadence and meaninglessness.

Isn't there any truth? Is there no real and valid doctrine?"

The master had never heard him speak so fervently. He walked on in silence for a little, then said: "There is truth, my boy. But the doctrine you desire, absolute, perfect dogma that alone provides wisdom, does not exist.

Nor should you long for a perfect doctrine, my friend. Rather, you should long for the perfection of yourself. The diety is within you, not in ideas and books. Truth is lived, not taught. Be prepared for conflicts, Joseph Knecht - I can see that they already have begun.

[Herman Hesse]
The Glass Bead Game





[...] I lived like a blind man in the position in which I had been put, without considering what it was, because in that position I had been born and had grown up and it was therefore natural for me [...]

And it must always necessarily seem to us that the others are mistaken, thinking that a given form, a given act is not this and is not thus.

But inevitably, a little later, if we shift one degree, we realize we were also mistaken, and it isn't this and it isn't thus; so in the end we are obliged to recognize that it will never be this or thus in any stable, sure way; but first one way, then another, and at a certain point all will seem to us mistaken, or all true, which amounts to the same thing; because a reality wasn't assigned to us and doesn't exist, and we have to make it ourselves, if we want it to be [...]

What sort of reality can the majority of men manage to establish in themselves? Wretched, unsteady, uncertain.

And oppressors, of course, take advantage! Or rather, they deceive themselves that they can take advantage, making others undergo or accept the meaning and value they assign themselves, to the others, to things, so all will see and feel, think and speak in their way.

But everything that can be imagined about us is really possible, even if it isn't true for us. The others don't care whether or not it's true for us. It's true for them. So true that the others, if you don't cling fast to the the reality you have given yourself, can actually lead you to grant that even truer than the reality you have given yourself is the one they give you.

[Luigi Pirandello]
One, No One & One Hundred Thousand, p.59, 62, 85, 86, 135





You see, that’s why I think that people have affairs.

Well, I mean, you know, in the theater, if you get good reviews, you feel for a moment that you’ve got your hands on something. You know what I mean? I mean it’s a good feeling.

But then that feeling goes quite quickly. And once again you don’t know quite what you should do next. What’ll happen? Well, have an affair and up to a certain point you can really feel that you’re on firm ground.

You know, there’s a sexual conquest to be made, there are different questions: does she enjoy the ears being nibbled, how intensely can you talk about Schopenhauer in some elegant French restaurant.  

Whatever nonsense it is. It’s all, I think, to give you the semblance that there’s firm earth.

Well, have a real relationship with a person that goes on for years, that’s completely unpredictable. Then you’ve cut off all your ties to the land and you’re sailing into the unknown, into uncharted seas.

I mean, you know, people hold on to these images: father, mother, husband, wife, again for the same reason: ’cause they seem to provide some firm ground. But there’s no wife there. What does that mean, a wife? A husband? A son? A baby holds your hands and then suddenly there’s this huge man lifting you off the ground, and then he’s gone. Where’s that son?

['Andre']
Dialogue from 'My Dinner With Andre' (film)





Here we have the empiricist's case, as it is still put by some of my positivist friends.

I shall try to show that this case is as little valid as Bacon's; that the answer to the question of the sources of knowledge goes against the empiricist; and, finally, that this whole question of ultimate sources - sources to which one may appeal, as one might to a higher court or a higher authority - must be rejected as based upon a mistake.

First I want to show that if you actually went on questioning The Times and its correspondents about the sources of their knowledge, you would in fact never arrive at all those observations by eyewitnesses in the existence of which the empiricist believes.

You would find, rather, that with every single step you take, the need for further steps increases in snowball-like fashion. 

Take as an example [...] the assertion 'The Prime Minister has decided to return to London several days ahead of schedule'. Now assume for a moment that somebody doubts this assertion, or feels the need to investigate its truth. What shall he do? If he has a friend in the Prime Minister's office, the simplest and most direct way would be to ring him up; and if this friend corroborates the message, then that is that.

In other words, the investigator will, if possible, try to check, or to examine, the asserted fact itself, rather than trace the source of the information. But according to the empiricist theory, the assertion 'I have read it in The Times' is merely a first step in a justification procedure consisting in tracing the ultimate source. What is the next step?

There are at least two next steps. One would be to reflect that 'I have read it in The Times' is also an assertion, and that we might ask 'What is the source of your knowledge that you read it in The Times and not, say, in a paper looking very similar to The Times?' The other is to ask The Times for the sources of its knowledge.

The answer to the first question may be 'But we have only The Times on order and we always get it in the morning', which gives rise to a host of further questions about sources which we shall not pursue.

The second question may elicit from the editor of The Times the answer: 'We had a telephone call from the Prime Minister's office.' Now according to the empiricist procedure, we should at this stage ask next: 'Who is the gentleman who received the telephone call?' and then get his observation report; but we should also have to ask that gentleman: 'What is the source of your knowledge that the voice you heard came from an official in the Prime Minister's office?', and so on.

There is a simple reason why this tedious sequence of questions never comes to a satisfactory conclusion. It is this. Every witness must always make ample use, in his report, of his knowledge of persons, places, things, linguistic usages, social conventions, and so on. He cannot rely merely upon his eyes or ears, especially if his report is to be of use in justifying any assertion worth justifying.

But this fact must of course always raise new questions as to the sources of those elements of his knowledge which are not immediately observational.

This is why the programme of tracing back all knowledge to its ultimate source in observation is logically impossible to carry through: it leads to an infinite regress.

(The doctrine that truth is manifest cuts off the regress. This is interesting because it may help to explain the attractiveness of that doctrine.)

[Karl Popper]
'The Problem of Induction'




For [scientists] and for philosophers [...] induction has presented an unsolved problem at the very foundations of human knowledge, and until such time as it might be solved the whole of science, however intrinsically consistent and extrinsically useful, must be conceded to be somehow floating in mid air, unfixed to terra firma.

[...] induction, Popper is saying, is a dispensable concept, a myth. It does not exist. There is no such thing.

[Bryan Magee]
Popper, p. 22, 31




In 1931 Kurt Godel created a stir in the World of Mathematics and Logic when he revealed that it was impossible to embrace mathematics within a single system of logic.

He accomplished this by proving, first, that any consistent system —that includes the arithmetic of whole numbers— is incomplete. In other words, there are true statements or concepts within the system that cannot be deduced from the postulates that make up the system.

[...] Godel's Proof indirectly shows that in order to determine the consistency of any new system we must construct or uncover another system beyond it.

Over and over this cycle must be repeated to determine the consistency of more and more elaborate systems. 

[John R. Boyd]
'Destruction and Creation'




The primary Buddhist dictum is that life is suffering. 

What does that mean? It means that because you’re finite and you’re surrounded by something that’s absolute, in a sense you’re in a battle you can never win because there’s always more of what it is that you’re trying to contend with than there is with you. 

And worse than that, and it’s for this reason that tyrannies can’t last, is that the thing that you’re contending with isn’t even static. It keeps changing. 

So that what worked for you yesterday won’t necessarily work for you tomorrow.

[Jordan B. Peterson]
'Reality and the Sacred
 




In quantum mechanics, the uncertainty principle, also known as Heisenberg's uncertainty principle, is any of a variety of mathematical inequalities asserting a fundamental limit to the precision with which certain pairs of physical properties of a particle, known as complementary variables, such as position x and momentum p, can be known.

'Uncertainty principle'



[Quantum mechanics] allows us to describe what everything in the universe is made of, how it interacts, and how it all fits together. But it comes at a huge price.

At its most fundamental level we have to accept that nature is ruled by chance and probability. 

Heisenberg’s uncertainty principle dictates that there are certain limits on the sorts of questions we can ask the atomic world; and most crucially, while we now know so much more about what an atom is and how it behaves, we have to give up any possibility of imagining what it looks like.

[Jim Al-Khalili]
Atom, The Clash of the Titans (documentary)




I find it ludicrous to present the uncertainty principle as having anything to do with uncertainty. Why? First, this uncertainty is Gaussian. On average, it will disappear - recall that no one person's weight will significantly change the total weight of a thousand people.

We may always remain uncertain about the future positions of small particles, but these uncertainties are very small and very numerous, and they average out [...] Most other types of randomness do not average out!

If there is one thing on this planet that is not so uncertain, it is the behaviour of a collection of subatomic particles! Why? Because [...] when you look at an object, composed of a collection of particles, the fluctuations of the particles tend to balance out.

[Nassim Nicholas Taleb]
The Black Swan, p. 287

--

The uncertainty principle concerns the boundaries of Middle World, of the realm of the known. It shows us that those boundaries are fuzzy, not distinct.

Whilst the exact position of an object's particulars may be unknown, the existence of the object itself is not thrown into question. Its boundaries are blurry, but only from a certain perspective - zoom out a little and they appear distinct enough.





There is no outside-text.

[Jacques Derrida]



Rorty draws a further distinction between "strong" and "weak" textualists that serves to distinguish Derrida from most of his American progeny in literary criticism, as well as from hermeneuticists like Gadamer.

The weak textualist still claims to have deciphered the secret of the text, to have broken its code, to have gotten at what it really says in a way missed by previous interpreters. The strong textualist makes a claim that is similar - the claim to have gotten more out of the text than the author or the intended audience could possibly have found there. But unlike the weak textualist, the strong textualist does not believe there really is a secret code, or that the notion of getting the text "right" makes any sense at all.

This is because the idea of the right interpretation is the idea of an interpretation that could bring interpretation to an end. But there can be no such final interpretation.

Interpretation always involves further interpretation, reinterpretation, and so on in a process that is strictly, and in principle, incompleteable. From the strong textualist perspective, the very idea that there could be anything like the right, final, definitive interpretation is a self-deception. They believe that interpretation is creation and not discovery, the violent imposition of a "grid" on the text to use Foucault's expression.

[Rick Roderick]
'Reading Derrida Politically (Contra Rorty)', PRAXIS International (PRAXIS International), issue: 4 / 1986, p. 443



[...] it is a major precept of modern structural linguistics that meaning is not a relation of identity between signifier and signified but a product of the differences, the signifying contrasts and relationships that exist at every level of language.

 [...] language is always and everywhere a system of differential signs [...] meaning subsists in various structures of relationship and not in some ideal correspondence between sound and sense [...]

To think logocentrically is to dream of a 'transcendental signified', of a meaning outside and beyond the differential play of language that would finally put a stop to this unnerving predicament. 

Deconstruction defines its own project by contrast as a perpetual reminder that meaning is always the 'sign of a sign'; that thought cannot escape this logic of endless supplementarity [...]

[Christopher Norris]
Derrida, p. 85-6



Peirce goes very far in the direction that I have called the de-construction of the transcendental signified, which, at one time or another, would place a reassuring end to the reference from sign to sign. 

I have identified logocentrism and the metaphysics of presence as the exigent, powerful, systematic, and irrepressible desire for such a signified. 

Now Peirce considers the indefiniteness of reference as the criterion that allows us to recognize that we are indeed dealing with a system of signs. What broaches the movement of signification is what makes its interruption impossible. The thing itself is a sign. An unacceptable proposition for Husserl, whose phenomenology remains therefore - in its “principle of principles" - the most radical and most critical restoration of the metaphysics of presence. 

The difference between Husserl's and Peirce's phenomenologies is fundamental since it concerns the concept of the sign and of the manifestation of presence, the relationship between the re-presentation and the originary presentation of the thing itself (truth). On this point Peirce is undoubtedly closer to the inventor of the word phenomenology: Lambert proposed in fact to "reduce the theory of things to the theory of signs". According to the "phanaeroscopy” or “phenomenology" of Peirce, manifestation itself does not reveal a presence, it makes a sign. 

One may read in the Principle of Phenomenology that "the idea of manifestation is the idea of a sign." 

There is thus no phenomenality reducing the sign or the representer so that the thing signified may be allowed to glow finally in the luminosity of its presence. The so-called “thing itself" is always already a representamen shielded from the simplicity of intuitive evidence. 

The representamen functions only by giving rise to an interpretant that itself becomes a sign and so on to infinity. The self-identity of the signified conceals itself unceasingly and is always on the move. The property of the representamen is to be itself and another, to be produced as a structure of reference, to be separated from itself. The property of the representamen is not to be proper (propre), that is to say absolutely proximate to itself (prope, proprius). The represented is always already a representamen […]

From the moment that there is meaning there are nothing but signs. We think only in signs. 

[Jacques Derrida]
Of Grammatology, p. 49-50



The aim [of deconstruction] is not to excessively dissolve everything, but to insist upon a more chastened sense of the contingency of sense, of everything that calls itself universal or necessary, transcendental or ontological, philosophical or scientific.

[Marcel Cobussen]
'Dissemination'



[…] in Structuralism, all signifiers are directly connected to an extra-linguistic signified, the invariable ones. 

To 'mean' anything, a signifier must presuppose a signified already-always outside it. This is what Derrida terms as the "transcendental signified": as a signified, it belongs to the realm of language, but by being invariable, and by refusing any movement, it remains outside it. 

A word, if immovable, can mean nothing, or even exist. Only when an endless chain of other signifiers, other words, hints, get associated with it, it finally acquires meaning ('Camel' is understandable only when it is thinly associated with many related words, such as 'animal', 'desert', 'cigarette', 'long neck', etc.). In other words, language is this movement. 

‘Trace (deconstruction)’, Wikipedia




Because human experience is linguistically prestructured, yet the various structures of language possess no demonstrable connection with an independent reality, the human mind can never claim access to any reality other than that determined by its local form of life. 

Language is a “cage" (Wittgenstein). Moreover, linguistic meaning itself can be shown to be fundamentally unstable, because the contexts that determine meaning are never fixed, and beneath the surface of every apparently coherent text can be found a plurality of incompatible meanings. 

No interpretation of a text can claim decisive authority because that which is being interpreted inevitably contains hidden contradictions that undermine its coherence. 

Hence all meaning is ultimately undecidable, and there is no "true" meaning. No underlying primal reality can be said to provide the foundation for human attempts to represent truth. Texts refer only to other texts, in an infinite regress, with no secure basis in something external to language. One can never escape from "the play of signifiers." The multiplicity of incommensurable human truths exposes and defeats the conventional assumption that the mind can progress ever forward to a nearer grasp of reality. 

[Richard Tarnas]
The Passion of the Western Mind, p. 399




Every genuine scientific theory then, in Popper’s view, is prohibitive, in the sense that it forbids, by implication, particular events or occurrences. As such it can be tested and falsified, but never logically verified.

Thus Popper stresses that it should not be inferred from the fact that a theory has withstood the most rigorous testing, for however long a period of time, that it has been verified;

rather we should recognise that such a theory has received a high measure of corroboration, and may be provisionally retained as the best available theory until it is finally falsified (if indeed it is ever falsified), and/or is superseded by a better theory.

'Karl Popper'



Drawing on the insights of Hume and Kant, Popper noted that science can never produce knowledge that is certain, nor even probable. 

Man observes the universe as a stranger, making imaginative guesses about its structure and workings. He cannot approach the world without such bold conjectures in the background, for every observed fact presupposes an interpretive focus. 

In science, these conjectures must be continually and systematically tested; yet however many tests are successfully passed, any theory can never be viewed as more than an imperfectly corroborated conjecture. At any time, a new test could falsify it. No scientific truth is immune to such a possibility. 

Even the basic facts are relative, always potentially subject to a radical reinterpretation in a new framework. Man can never claim to know the real essences of things. Before the virtual infinitude of the world's phenomena, human ignorance itself is infinite. 

The wisest strategy is to learn from one's inevitable mistakes.

[Richard Tarnas]
The Passion of the Western Mind, p. 360




The form or presentation of logic, [Hegel] says, has three sides or moments. These sides are not parts of logic, but, rather, moments of “every logical concept”, as well as “of everything true in general”.

The first moment—the moment of the understanding—is the moment of fixity, in which concepts or forms have a seemingly stable definition or determination.

The second moment—the “dialectical” or “negatively rational” moment—is the moment of instability.

In this moment, a one-sidedness or restrictedness in the determination from the moment of understanding comes to the fore, and the determination that was fixed in the first moment passes into its opposite. There is something particular about the determination in the moment of understanding—a specific weakness, or some specific aspect that was ignored in its one-sidedness or restrictedness—that leads it to fall apart in the dialectical moment.

Hegel describes this process as a process of “self-sublation” [...] The moment of understanding sublates itself because its own character or nature—its one-sidedness or restrictedness—destabilizes its definition and leads it to pass into its opposite.

The third moment—the “speculative” or “positively rational” moment—grasps the unity of the opposition between the first two determinations, or is the positive result of the dissolution or transition of those determinations.

'Hegel's Dialectics'




At stake was nothing less than the progression of Western culture into its next stage of maturity. The first stage of this maturation, in Rorty's eyes, was overcoming the pre-Enlightenment religious outlook, which required humans to appeal to something nonhuman and divine for moral guidance and truth when in fact they should have been seeking moral guidance among themselves.

Many thinkers acknowledge the freedom that this aspect of the Enlightenment has brought.

But Rorty regrets that few of them see a parallel between overcoming the dubious religious idea of a nonhuman divine Other and overcoming the dubious scientific idea of conforming our inquiry to the way the world really is.

Such metaphysical pretensions, Rorty believes, are the traces of unprofitable ways of talking about the world, and if philosophers can persuade people to stop talking as though our worldview describes things as they really are, they can make a substantive contribution to the de-divinizing of the world.

Rather than assuming that our inquiry can cease when it hits the hard bedrock of truth, Rorty wants people to realize that the goals of inquiry continually evolve and are best met by an enduring commitment to experimentation, novelty, poetic creativity, and pluralism.

[James Ryerson]
'The Quest for Uncertainty: Richard Rorty's pragmatic pilgrimage'




Conceiving the possibility that alternative sciences could exist allows us to look back at Western science and ask how much of it is inevitable and objective, and how much is culturally conditioned and determined.

To take one example, the desire for an ultimate level to matter, and the need for a final solution that will provide closure to scientific questioning, does appear to be the manifestation of a persistent trait in Western civilization.

This is not necessarily shared by other cultures that may be more willing to accept an infinity of qualitatively different levels and explanations that are forever open.

Western novels are generally created around a logical scheme of development with a beginning, middle, and end. But many Arabic stories have no end and very little development. Classical Western music involves the alternation of tension and resolution and moves forward toward a coda in which everything is to be resolved and ended in a formal way.

By contrast, Islamic music moves in a more inward way, not having any particular goal or ending, but rather opening into an infinity of variations between the various notes.

The need for all-embracing explanations, fundamental levels, and definite endings may therefore not be so much a characteristic of "science" itself but of a particular cultural mindset within the West.

[F. David Peat]
From Certainty to Uncertainty, p. 209-10




[...] any coastline is - in a sense - infinitely long. In another sense, the answer depends on the length of your ruler.

Consider one plausible method of measuring. A surveyor takes a set of dividers, opens them to a length of one yard, and walks them along the coastline. The resulting number of yards is just an approximation of the true length, because the dividers skip over twists and turns smaller than one yard, but the surveyor writes the number down anyway.

Then he sets the dividers to a smaller length—say, one foot—and repeats the process. He arrives at a somewhat greater length, because the dividers will capture more of the detail and it will take more than three one-foot steps to cover the distance previously covered by a one-yard step. He writes this new number down, sets the dividers at four inches, and starts again.

This mental experiment, using imaginary dividers, is a way of quantifying the effect of observing an object from different distances, at different scales.

An observer trying to estimate the length of England’s coastline from a satellite will make a smaller guess than an observer trying to walk its coves and beaches, who will make a smaller guess in turn than a snail negotiating every pebble.

Common sense suggests that, although these estimates will continue to get larger, they will approach some particular final value, the true length of the coastline. The measurements should converge, in other words. And in fact, if a coastline were some Euclidean shape, such as a circle, this method of summing finer and finer straight-line distances would indeed converge.

But Mandelbrot found that as the scale of measurement becomes smaller, the measured length of a coastline rises without limit, bays and peninsulas revealing ever-smaller subbays and subpeninsulas—at least down to atomic scales, where the process does finally come to an end. Perhaps.

[James Gleick]
Chaos, p. 95-6




Experience is forever in motion, ramifying and unpredictable.

In order for us to know anything at all, that thing must have enduring properties. If all things flow, and one can never step into the same river twice [...] one will always be taken unawares by experience, since nothing being ever repeated, nothing can ever be known.

We have to find a way of fixing it as it flies, stepping back from the immediacy of experience, stepping outside the flow. 

Hence the brain has to attend to the world in two completely different ways, and in so doing to bring two different worlds into being.

In the one, we experience - the live, complex, embodied, world of individual, always unique beings, forever in flux, a net of interdependencies, forming and re-forming wholes, a world with which we are deeply connected.

In the other we 'experience' our experience in a special way: a 're-presented' version of it, containing now static, separable, bounded, but essentially fragmented entities, grouped into classes, on which predictions can be based.

This kind of attention isolates, fixes and makes each thing explicit by bringing it under the spotlight of attention. In doing so it renders things inert, mechanical, lifeless. But it also enables us for the first time to know, and consequently to learn and to make things. This gives us power.

[Iain McGilchrist]
The Master and his Emissary, p. 30-1




[...] there are no lasting, final units, no atoms, no monads: here too the 'being' of things has been inserted by us (for practical, useful, perspectival reasons) [...]

[Friedrich Nietzsche]
Writings from the Late Notebooks, p. 212




How much one needs a faith in order to flourish, how much that is "firm" and that one does not wish to be shaken because one clings to it, that is the measure of the degree of one's strength (or, to put the point more clearly, of one's weakness) [...]

Metaphysics is still needed by some; but so is that impetuous demand for certainty that today discharges itself among large numbers of people in a scientific-positivistic form. 

The demand that one wants by all means that something should be firm (while on account of the ardor of this demand one is easier and more negligent about the demonstration of this certainty) -- this, too, is still the demand for a support, a prop, in short, that instinct of weakness which, to be sure, does not create religious, metaphysical systems, and convictions of all kinds but - conserves them.

Conversely, one could conceive of such a pleasure and power of self-determination, such a freedom of the will that the spirit would take leave of all faith and every wish for certainty, being practised on maintaining itself on insubstantial ropes and possibilities and dancing even near abysses. Such a spirit would be the free spirit par excellence.

[Friedrich Nietzsche]
The Gay Science, 347




If we look at the history of opinions, we see that the empiricist tendency has largely prevailed in science, while in philosophy the absolutist tendency has had everything its own way.

The characteristic sort of happiness, indeed, which philosophies yield has mainly consisted in the conviction felt by each successive school or system that by it bottom-certitude had been attained. 

"Other philosophies are collections of opinions, mostly false; my philosophy gives standing-ground forever,"-who does not recognize in this the key-note of every system worthy of the name? A system, to be a system at all, must come as a closed system, reversible in this or that detail, perchance, but in its essential features never!

But now, since we are all such absolutists by instinct, what in our quality of students of philosophy ought we to do about the fact? Shall we espouse and indorse it? Or shall we treat it as a weakness of our nature from which we must free ourselves, if we can?

Objective evidence and certitude are doubtless very fine ideals to play with, but where on this moonlit and dream-visited planet are they found? I am, therefore, myself a complete empiricist so far as my theory of human knowledge goes.

I live, to be sure, by the practical faith that we must go on experiencing and thinking over our experience, for only thus can our opinions grow more true; but to hold any one of them--I absolutely do not care which--as if it never could be reinterpretable or corrigible, I believe to be a tremendously mistaken attitude, and I think that the whole history of philosophy will bear me out. 

Apart from abstract propositions of comparison (such as two and two are the same as four), propositions which tell us nothing by themselves about concrete reality, we find no proposition ever regarded by any one as evidently certain that has not either been called a falsehood, or at least had its truth sincerely questioned by some one else.

The 'absolutely' true, meaning what no farther experience will ever alter, is that ideal vanishing-point towards which we imagine that all our temporary truths will some day converge. It runs on all fours with the perfectly wise man, and with the absolutely complete experience; and, if these ideals are ever realized, they will all be realized together.

Meanwhile we have to live to-day by what truth we can get to-day, and be ready to-morrow to call it falsehood. Ptolemaic astronomy, euclidean space, aristotelian logic, scholastic metaphysics, were expedient for centuries, but human experience has boiled over those limits, and we now call these things only relatively true, or true within those borders of experience. 'Absolutely' they are false; for we know that those limits were casual, and might have been transcended by past theorists just as they are by present thinkers.

[William James]
'Pragmatism's Conception of Truth' and 'The Will to Believe', Pragmatism and Other Writings, p. 98, 205-7




The import of the difference between pragmatism and rationalism is now in sight throughout its whole extent. The essential contrast is that for rationalism reality is ready-made and complete from all eternity, while for pragmatism it is still in the making, and awaits part of its complexion from the future. On the one side the universe is absolutely secure, on the other it is still pursuing its adventures.

On the pragmatist side we have only one edition of the universe, unfinished, growing in all sorts of places, especially in the places where thinking beings are at work.

On the rationalist side we have a universe in many editions, one real one, the infinite folio, or edition de luxe, eternally complete; and then the various finite editions, full of false readings, distorted and mutilated each in its own way.

And first let me say that it is impossible not to see a temperamental difference at work in the choice of sides. The rationalist mind, radically taken, is of a doctrinaire and authoritative complexion: the phrase 'must be' is ever on its lips. The belly-band of its universe must be tight. A radical pragmatist on the other hand is a happy-go-lucky anarchistic sort of creature. If he had to live in a tub like Diogenes he wouldn't mind at all if the hoops were loose and the staves let in the sun.

For pluralistic pragmatism, truth grows up inside of all the finite experiences. They lean on each other, but the whole of them, if such a whole there be, leans on nothing. All 'homes' are in finite experience; finite experience as such is homeless. Nothing outside of the flux secures the issue of it. It can hope salvation only from its own intrinsic promises and potencies.

What then would tighten this loose universe, according to the professors?

Something to support the finite many, to tie it to, to unify and anchor it. Something unexposed to accident, something eternal and unalterable. The mutable in experience must be founded on immutability.

Behind our de facto world, our world in act, there must be a de jure duplicate fixed and previous, with all that can happen here already there in posse, every drop of blood, every smallest appointed and provided, stamped and branded, without chance of variation.

The negatives that haunt our ideals here below must be themselves negated in the absolutely Real. This alone makes the universe solid. This is the resting deep. We live upon the stormy surface; but with this our anchor holds, for it grapples rocky bottom.

This is Wordsworth's "central peace subsisting at the heart of endless agitation." This is Vivekananda's mystical One of which I read to you. This is Reality with the big R, reality that makes the timeless claim, reality to which defeat can't happen. This is what the men of principles, and in general all the men whom I called tender-minded in my first lecture, think themselves obliged to postulate.

You see how differently people take things. The world we live in exists diffused and distributed, in the form of an indefinitely numerous lot of eaches, coherent in all sorts of ways and degrees; and the tough-minded are perfectly willing to keep them at that valuation. They can stand that kind of world, their temper being well adapted to its insecurity.

Not so the tender-minded party. They must back the world we find ourselves born into by "another and a better" world in which the eaches form an All and the All a One that logically presupposes, co-implicates, and secures each each without exception.

Abstractly, or taken like the word winter, as a memorandum of past experience that orients us towards the future, the notion of the absolute world is indispensable. Concretely taken, it is also indispensable, at least to certain minds, for it determines them religiously, being often a thing to change their lives by, and by changing their lives, to change whatever in the outer order depends on them.

[William James]
'Pragmatism and Humanism', Pragmatism and Other Writings, p. 113-17




Nietzsche […] thinks that the fact that science rests on the “faith” that “nothing is needed more than truth, and in relation to it everything else has only second-rate value” shows that science rests on unquestioned presuppositions that make it continuous with the dogmatic tradition it opposes and fights.

“One assumes that it is harmful, dangerous, calamitous to be deceived.” But this, he continues, is groundless. On many occasions it is much more advantageous to be deceived about the facts than to know the truth about them. Therefore, the unconditional faith “that truth is more important than any other thing, including every other conviction… could never have come into being if both truth and untruth proved to be useful, which is the case.”

The unconditional will to truth springs from an effort on our part to deny nature in general, and our nature, to which deception and error are essential, in particular.

“[…] Christian morality itself, the concept of truthfulness that was understood even more rigorously, the father confessor’s refinement of the Christian conscience, translated and sublimated into a scientific conscience, into intellectual cleanliness at any price.”

Science is itself the descendent of the Christian emphasis on truthfulness, and the discipline of “two thousand years of truthfulness… finally forbids itself the lie involved in belief in God.”

“A depreciation of the ascetic ideal unavoidably involves a depreciation of science,” because both depend essentially on the unconditional faith that “truth is inestimable and cannot be criticised.”

[Alexander Nehamas]
Nietzsche: Life as Literature, p. 130-3




[…] elegant maths has this property: it is perfectly right, not 99 percent so. This property appeals to mechanistic maids who do not want to deal with ambiguities. 

Unfortunately you have to cheat somewhere to make the world fit perfect mathematics; and you have to fudge your assumptions somewhere.

We have seen […] that professional “pure” mathematicians, however, are as honest as they come. So where matters get confusing is when someone […] tries to be mathematical and airtight rather than focus on fitness to reality.

[…] those who started the game of “formal thinking,” by manufacturing phone premises in oder to generate “rigorous” theories […] wrecked the ideas of John Maynard Keynes, which they tried to formalise (Keynes was interested in uncertainty, and complained about the mind-closing certainties induced by models).

[…] participants in the formal thinking venture were […] in a delusional state under the effect of mathematics - what Dieudonné called “the music of reason,” and what I call Locke’s madness.

All of them can be safely accused of having invented an imaginary world, one that lent itself to their mathematics.

[Nassim Nicholas Taleb]
The Black Swan, p. 283



In Hume's view, two kinds of propositions are possible, one based purely on sensation and the other purely on the intellect. 

A proposition based on sensation concerns obvious matters of concrete fact (e.g., “it is a sunny day"), which are always contingent (they could have been different, though in fact they were not). By contrast, a proposition based purely on intellect concerns relations between concepts (e.g., "all squares have four equal sides"), and these are always necessary—that is, their denial leads to self-contradiction. 

But the truths of pure reason, such as those of mathematics, are necessary only because they exist in a self-contained system with no mandatory reference to the external world. 

They are true only by logical definition, by making explicit what is implicit in their own terms, and these can claim no necessary relation to the nature of things. Hence the only truths of which pure reason is capable are tautological. 

Reason alone cannot assert a truth about the ultimate nature of things.

[Richard Tarnas]
The Passion of the Western Mind, p. 338




It is a profound and fundamental good fortune that scientific discoveries stand up under examination and furnish the basis, again and again, for further discoveries. After all, this could be otherwise. Indeed, we are so convinced of the uncertainty and fantasies of our judgments and of the eternal change of all human laws and concepts that we are really amazed how well the results of science stand up. 

Formerly, nothing was known of this fickleness of everything human; the mores of morality sustained the faith that all of man's inner life was attached to iron necessity with eternal clamps. Perhaps people then experienced a similarly voluptuous amazement when they listened to fairy tales. 

The miraculous gave a great deal of pleasure to those who at times grew tired of the rule and of eternity. To lose firm ground for once! To float! To err! To be mad! That was part of the paradise and the debauchery of bygone ages, while our bliss is like that of a man who has suffered shipwreck, climbed ashore, and now stands with both feet on the firm old earth-amazed that it does not waver. 

[Friedrich Nietzsche]
The Gay Science, 46




The materialistic attitude, because of its inherent limitations, involves risks that are similarly limited; its 'thickness’, figuratively speaking, protects anyone who persists in holding to it from all subtle influences without distinction, and confers on him a sort of immunity more or less like that of a mollusc living firmly enclosed in its shell, the materialist deriving from this immunity the impression of security previously referred to. 

The shell may be taken to represent the aggregate of conventionally recognized scientific conceptions and of the corresponding mental habits, together with the 'hardening’ of the ‘psycho-physiological’ constitution of the individual which they produce, and if an opening is made in this shell from below, as described earlier, the destructive subtle influences will at once make their way in, and they will do so all the more easily because, thanks to the negative work accomplished in the preceding phase, no element of a superior order will be able to intervene in such a way as to counteract them.

[René Guénon] 
The Reign of Quantity and the Signs of the Times, p.170-1




Friedrich Nietzsche is the one who best foresaw “European nihilism” as a future and a destiny “which proclaims itself everywhere by the voice of a thousand signs and a thousand presages.”

The “great event, obscurely suspected, that God is dead,” is the principle of the collapse of all values.

From this point, morality is deprived of its sanction and “incapable of maintaining itself,” and the interpretation and justification formerly given to all norms and values disappear. Dostoyevsky expressed the same idea in the words, “If God does not exist, everything is permitted.”

“The death of God” is an image that characterizes a whole historical process. The phrase expresses “unbelief turned to daily reality,” a desacralization of existence and a total rift with the world of Tradition that, beginning in the West at about the period of the Renaissance and humanism, has increasingly assumed the character of an obvious and irreversible state of affairs for present-day humanity.

We must distinguish various stages of the process in question. The elementary fact is a fracture of an ontological character, through which human life loses any real reference to transcendence. All the developments of nihilism are already virtually contained in this fact.

Morality rendered independent from theology and metaphysics and founded on the sole authority of reason-so-called “autonomous” morality—is the first phenomenon to take shape after the death of God, trying to hide it from consciousness. When the level of the sacred is lost, the absolute principle descends to the level of pure human morality.

But once morality has lost its root, which is the original and effective relationship of man with a higher world, it ceases to have any so invulnerable foundation, and the critics soon have the better of it.

In “autonomous morality,” which is secular and rational, the only resistance to any natural impulse is an empty and rigid command, a "thou shalt” that is a mere echo of the ancient, living law. Then at the point where one tries to give this “thou shalt" some firm content and to justify that content, the ground gives way.

[Julius Evola]
Ride the Tiger, p. 16-17




People have been credulous about materialism because at a deep level they still assumed that - in however sophisticated a sense - we had to look for a single fundamental stuff, a substrate which would provide a universal form of explanation.

In spite of advances in physics which ought to have undermined this pattern, the image of matter as the hyle or wood out of which things like tables are made persisted, and explanation in these terms inevitably made mind look like some kind of illusion.

Accounts of events involving consciousness are, then, legitimate at their own level but they are not complete or fundamental. They are only provisional. In order to be made fully intelligible they must be reduced, by way of the biological and chemical accounts, down to the ground floor of physics which is the only fundamental level, the terminus that alone provides true understanding.

This really is a mistake. Physical explanations are only fundamental for physics. Other kinds of question need other kinds of answers. The main difficulty is still to identify the exact question we are asking.   

The difficulty that we feel about consciousness is not a local one that can be resolved by relating it directly to physics. It is one of relating our whole inner and outer viewpoints - of finding a context in which the subjective and objective aspects of life can be intelligibly connected.

Is matter somehow more real than mind? Is physical explanation always more fundamental than other kinds of explanation? These odd questions […] surely lurk in the background of current debates about consciousness. 

But can reality be the kind of thing that has degrees? Can things be more or less real? And again, does it make sense to talk of one enquiry as more fundamental than another until one has explained 'fundamental for what?'.

[Mary Midgley]
Science and Poetry, p.90, 171, 186




Claiming that self-organisation is an important property of complex systems is to argue against foundationalism.

The dynamic nature of self-organisation, where the structure of the system is continuously transformed through the interaction of contingent, external factors and historical, internal factors, cannot be explained by resorting to a single origin or to an immutable principle.

In point of fact, self-organisation provides the mechanism whereby complex structure can evolve without having to postulate first beginnings or transcendental interventions. It is exactly in this sense that postmodern theory contributes to our understanding of complex, self-organising systems.

For reasons similar to the above, self-organising systems are also anti-reductionistic.

As a result of the complex patterns of interaction, the behaviour of a system cannot be explained solely in terms of its atomistic components, despite the fact that the system does not consist of anything else but the basic components and their interconnections.

Complex characteristics 'emerge' through the process of interaction within the system.

[Paul Cilliers]
Complexity and Postmodernism, p.106




[Blackwell (1976)]states that ‘almost all theories of knowledge in Western philosophy are based on the notion that there are epistemological ultimates.’

As examples he cites Plato’s Forms, Aristotle’s four causes, Descartes’s innate ideas, Locke’s primary qualities, Hume’s simple impressions, Kant’s forms of sensibility and categories of understanding, Peirce’s ideal state of science, Husserl’s essences, Russell’s sense data and Carnap’s logical atomistic building blocks of the world.

Blackwell then denies the existence of epistemological ultimates and proposes a more modest outlook that admits ‘that our personal experience as well as the accumulated evidence available to us is limited to a relatively short stretch of space and time.’

In giving accounts of our knowledge, we always have to begin where we find ourselves: in mid-stream. It is in order to cope with this state of affairs that he proposes a ‘structuralist’ account.

[Paul Cilliers]
Complexity and Postmodernism, p.130-1



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