Category Archives: Biography

A cure for nihilism

Biography, Philosophy, Poetry, Synesis

I just had this thought as if it were my own:

Poetry is language attending to what transcends language.

If Jan Zwicky hasn’t expressed this thought it would surprise me. If she expressed it in exactly these words it would not surprise me. I cannot remember.

But I do know that I would not have had this thought had I not read her. Yet, I did just have this thought myself.

I rehad her thought.

*

This is how it is with the kind of philosophies I love:

They give us new givens, if we are hospitable and take them in.

They outfit us with new transcendental conceptions (together-takings) that make us aware of givens that would otherwise evade our awareness. They allow us to understand, anticipate, perceive, recognize and think in radically new ways.

These new conceptions allow new being to irrupt into our sense of everything, ex nihilo, expanding, deepening and enriching the realm of possibility. They miraculously make the word “everything” larger and more accommodating.*

If this can happen once, it can always happen again.

Nothing — nothingness — will ever be the same again, because we can never be sure that some inconceivable somethingness isn’t lurking behind the nothingness, waiting to burst through and flood our lives with glory.

How could we ever take nothingness at face value, ever again?

How could we be nihilists, ever again?

We become exnihilists.

*

What does it mean to transcend language?

It means to suspend that impulse to recognize everything and assign it a word.

It means to notice those moments when we respond? without the guidance of speech, and to refrain from labeling those moments “absentminded”, but instead to become curious about who is doing all this doing, being all this being, am-ing all this am-ness.

Maybe we are truly absent in these moments — but maybe it is only speech that is absent. How do we discern? Do we really think sitting around talking to ourselves or to each other is going to clarify the issue? To speech, speechlessness is nothingness, but more is going on in us than speech can capture in its textual web.

Words can call us to what is beyond words. And that is exactly what they ought to do.

Language-breakers: Meditation mats, usability labs, acid tabs, shock…

Note: * Expanding, deepening and enriching the realm of possibility, making the word “everything” larger and more accommodating — this is the effect of magnanimity. The measure of a soul is how much is meant by the pragmatic sprawl of its belief in “everything”. But just beyond that sprawl is an inexhaustible more-than-everything, the wellspring of holiness, the awareness of which is wisdom.

Sectorianism

Biography, Politics

I feel a mixture of disgust and pity for progressives who actually believe they are leftists despite enjoying every advantage of class dominance. …and not only enjoy this dominance, but work to extend and maximize their class domination, which of course, includes noisily and ostentatiously diverting attention from their own grotesque class privilege by hyperfocusing on petty identitarian trifles.

It never occurs to them to wonder how it could be that their “left-wing” politics are not only approved of in the workplace — but increasingly “left-wing activism” is actively celebrated, even compelled, by the largest, wealthiest, most powerful capitalist institutions — the exact ones they loudly, harmlessly claim to wish to dismantle. Until the day of reckoning comes, though, they’ll work their asses off, sacrifice their happiness, and their children’s happiness to win their boss’s approval and win that promotion and pay raise.

Truth: Progressivism is not leftism.

There is no longer any mainstream left.

Apologies to Gertrude Stein, but there is no left left.

There are only classes which have formed around different industry sectors, which have developed cultures, ideologies and justifications for seeking hegemony.

These classes have no need nor desire to mobilize the masses. This is why democracy has grown unresponsive to citizens. They don’t need citizens. Instead, they mobilize their own products, resources and wealth to maximize their power and establish social and cultural hegemony. The political goal is to maximize the power of the hyperwealthy owners the means of production in these industry sectors (which produce not only products and services, but also culture, information, attitudes). A secondary goal, more a means than an end, is to deputize those who serve the owners of these means of production, and trickle them petty power over those who refuse to toe the ideological line.

For whatever reason, these industries are at odds with one another, and have become existential threats to one another. There is no longer an invisible hand of the market, but, rather, multiple hands, each benefitting one market and undermining the other. These hands have clutched into fists. What we are now experiencing is the impact of invisible fists upon the invisible bodies in which we all, as employees of various kinds, are incorporated.

People, in general, are really, really bad at thinking about how they think. They prefer to just focus on what their current way of thinking — the one they were trained to use in college — presents to them as real and true and good, and just let their logic crank out conclusions by its own rules. They think this thought by acquired logic is “critical thought”, but this is mere ratiocination. Critical thought challenges precisely the logic — the ideological underpinning — that produces conclusion. One of our more engrained ratiocinative habits is interpreting conflicts in terms of opposition. If some movement opposes another movement that is called “right-wing” obviously the opposing movement must be opposite: left-wing. If a movement opposes another movement that is called “evil” obviously the opposing movement must be the opposite: good. If a movement opposes another movement that is called “self-interested” obviously the opposing movement must be the opposite: altruistic.

This is plain dumb. Two entirely self-interested, ruthless, ideologically-deluded, hard-right movements can oppose one another, without either being opposed in principle to the other. And either or both of them can develop ideological images of themselves as idealistic, altruistic, principled champions of the common folk.

In my view, precisely this has happened. Both major factions seek hegemony. Both suspect they can pull it off and have grown increasing aggressive toward the other, using wealth, state power and whatever institutions and infrastructure they control as leverage. Both have developed myths to romanticize participation in their conflict. Both are utterly full of shit. But both movements are amply stocked with well-intentioned, intellectually-suggestible, obedient souls who have bought it all and taken it all to heart. They are the expendable cannon fodder of warring industrial sectors who imagine themselves glorious angel warriors battling over the fate of Heaven.

It’s self-interest all the way down, sahib — especially when people start striking altruistic poses. People care about “the other” only as justification for taking and exercising power.

We could call this situation sector sectarianism. Or maybe sectorianism?

I’m a realist. I don’t blame people for wanting to have both power and good conscience. But I also cannot respect it, nor can I play along with it. It is beneath my dignity. Self-respect, not goodness, forbids participation in this tragicomedy of self-righteousness. And people who fall for it on either side are less interesting and respectable, which makes the world a duller, lonelier place. I’ve lost friends to this nonsense, and by that, I mean friends have ruined themselves with this nonsense. I mourn the loss, and despise the body-snatched political puppets who now occupy their bodies and names.

Rambling on about gundams

Art, Biography, Design, History, Music

A friend of mine invited me over to his house to assemble a model gundam with him. I’ve done it twice now, and it’s got me thinking.

As a young kid, for a few years I got way passionately into building model airplanes and cars.

I can pinpoint exactly when I got into it — July of 1981 — because I associate the smell of the citrus safety glue with Prince Charles and Princess Diana’s wedding which was going on at the same time. I’d picked up a model F-104 Starfighter at an Eckerd Drugs en route to SUUSI, a Unitarian-Universalist family summer camp thing. At SUUSI that year I learned the word “lesbian”, and, simultaneously, I found out that gay people were not mythical beings, but actually existed, were attending this camp, and wanted to hang out with each other. Who knew? Also at this session, they showed a film called “Beatlemania”, where I discovered that the Beatles were not an obscure musical act that only I knew about. Not only did a large number of UU adults show up to see the film, but other kids my age did, too. But here’s the real kicker: according to this film, the Beatles were a very popular band — bigger, even, than KISS, the Spinners and Ray Stevens.

Don’t judge me. I did not ask to grow up in rural South Carolina, and I definitely did not ask to be the socially awkward nerd child of yankee pinkos who decided to save money by living in an extra-backwards town neighboring the university where my dad worked — a town that detested yankee pinkos and their awkward offspring. And in the 80s, no less: the golden age of nerd persecution. The theme of every other movie that came out was how dorky, impotently horny and hopeless nerds were, and how they deserve the abuse they naturally receive from their social superiors, but maybe they can use computers or science to get revenge or catch a glimpse of gratuitous boobery. It was not a good time. So fuck off. I had to figure everything thing out myself. That included, most of all, how to generate self-respect in a respect vacuum — a skill that, more than anything else, has made me who I am.

But I’m digressing.

So, model-making takes me way back into by biographical prehistory, and the idea of trying it again was intriguing.

But it wasn’t the same at all. There is no citrus glue. The pieces fit together perfectly — like, weirdly perfectly. When I made my F-104 Starfighter the parts were crude — obviously molded out of plastic magma, probably poured by hand from cast iron vats, in some dark factory lit only by coal fire and arc welders, by some worker who looked like a sooty Mario from Donkey Kong. The parts were attached to trees, and had to be twisted and wrenched free before they could be stuck together.

Half the time the part broke at the wrong point, and the other half of the time the part got all mangled. Later, I learned to gouge the parts off the tree with a blunt X-Acto blade. I wasn’t clear on the concept of disposable blades. I thought of changing the blade as repairing the knife if it broke, and as long as it kept sort of cutting stuff, it wasn’t broken, yet. So I’m pretty sure the blade I plunged into the palm of my left hand, while attempting to carve a T-Top into the roof of a silver 1978 Trans-Am Firebird, had a broken-off tip, and was was also covered with rust and paint. Sadly, that hand-stab was likely the cleanest cut of my model-making career.

But I’m digressing, again.

These gundam molds are miracles of precision fabrication. We snip the pieces with an instrument called the GodHand Nipper. But snip is the wrong word. The plastic just politely and perfectly separates along the cutline.

Then we sand the imperceptible mark where the cut allegedly occurred, until it is as if that part is a material manifestation beamed to Earth from Plato’s plane of pure form. The parts are then snapped together, effortlessly, without any need of glue. They fit with a perfection that gives me goosebumps. Half of the experience is marveling at the ingenuity of the kit’s designer, and at the quality of the fabrication.

Reflecting on this experience, I realize I’ve misconceived the activity.

A long time ago a friend of mine explained to me the difference between popular art and fine art as one of effort, or — as we say in the service design racket, of “value exchange”. In popular art we expend little effort, and in return passively receive the modest pleasures of entertainment. With fine art, we invest serious effort in meeting the work half-way, and through active participation receive sometime life-transforming rewards.

In saying all this, I am not claiming that gundam models are fine art — (but I’m also not denying it) — but if I were to think of it that way, I would see the assembly of these kits less as an act of creativity, and more in terms of that kind of cocreativity demanded of the listener of classical music — or maybe, better, of the performer of a scored piece of music. Here there is a lovely blending of connoisseurship and artistry, of consumption and production, of a kind that was more available back in the day when, if you wanted to hear your favorite Beethoven sonata, you had to go play it for yourself with your own two hands on a piano.

Nietzsche Preface Project

Biography, Love, Philosophy

From time to time Susan has uncanny “potentia” intuitions which fill her with an overwhelming certainty that something must be done. Invested with weird authority — and with a loving imperiousness that not only forbids but precludes argument — she issues decrees. The most recent was directed at me. The command: Produce a podcast, a Nietzsche seminar, where you (Stephen) guide me (Susan, and maybe eventually one or two others) through the process of reading and understanding Nietzsche.

You cannot and should not argue with Susan when she gets like this, plus I’m flattered that she wants to invest time and energy in doing this, so obviously I’m starting work on the project right now.

I know exactly what text I want to study. For a long time, I have harbored the hunch that it might be fruitful to read Nietzsche’s late prefaces together as a single work. However, I’ve never actually done it. I don’t remember the content of these prefaces sufficiently to imagine the likely results. This is an experiment, which seems fitting, if not essential, to this project. For this reason, the episodes will be unscripted. We will not preread the material. We will not edit out our missteps and errors. We will “show our work” and demonstrate “philosophy in the making”.

But I do want to establish clear context in the first episode: what we are doing, why we are doing it, why anyone should join us, and — perhaps most importantly — how we will go about collaborating. I’m terrible at improvising sequences. I jump around, omit details, skip steps, digress, backtrack and make a mess of it.

So I’ve been designing a script, just for the first episode, and here it my first draft:

Brief backstory of Nietzsche’s Prefaces

In the years between 1883-1886 Nietzsche’s philosophy crystallized. He wrote and published his magnum opus, Thus Spoke Zarathustra, and Beyond Good and Evil, which was intended as a polemical presentation of the ideas animating Zarathustra.

This new clarity drew a bright line between the earlier works and what Nietzsche now understood to be his destiny. Before, he was a wanderer, impelled toward something important but unknown. Now he understood where he was headed, and he understood clearly where he needed to go.

With this new clarity he could now retrospectively situate his previous work within this context. To that end, he wrote new prefaces for his earlier works — Birth of Tragedy, Human, All Too Human, Daybreak, and Gay Science.

These prefaces, taken together, tell a coherent story of a journey toward an unknown, unmapped and unmarked destination, impelled and guided by intuition, whose purpose can be known only in hindsight. And they also impart the hindsight itself, most importantly, the obscure purposes driving his work, and the kinds of experiences, problems and responses these purposes induce in him. This, I claim, supplies an attentive reader with the tools needed to navigate the terrain of Nietzsche’s wanderings — and to blaze paths in one’s own personal wanderings in unmapped, unmarked regions — as well as make clearer sense of Nietzsche’s later work.

Acknowledgement

Before we dive into the work I want quick acknowledgement The direct inspiration for this Preface Project was Jurgen Habermas’s Philosophical Introductions. Here’s the blurb on the cover:

On the occasion of Habermas’s 80th birthday, the German publisher Suhrkamp brought out five volumes of Habermas’s papers that spanned the full range of his philosophical thought, from the theory of rationality to the critique of metaphysics. For each of these volumes, Habermas wrote an introduction that crystallized, in a remarkably clear and succinct way, his thinking on the key philosophical issues that have preoccupied him throughout his long career. This new book by Polity brings together these five introductions and publishes them in translation for the first time. The resulting volume provides a unique and comprehensive overview of Habermas’s philosophy in his own words.

General Approach

We will begin with the “present” from which Nietzsche wrote his prefaces, the newly completed Beyond Good and Evil. The first preface we will read will be from that work. We will treat it as the key for understanding the earlier works, in two senses of key. First, I believe (from my own experience as a reader) that at least one important symbol, ubiquitous in and central to all of Nietzsche’s work, is illuminated in this short passage, which can be used to unlock at least one set of meanings across Nietzsche’s corpus — including these prefaces. But also, it sets the tonal key, which we should use to attune ourselves to the rest of the prefaces.

With our ears so equipped and attuned we will read each of the prefaces, in order of publication, starting with the brutally self-critical preface to Birth of Tragedy, then Human, All Too Human, then Daybreak, and finally The Gay Science.

We will be using the Cambridge editions:

Method

We will not read these prefaces straight through. A mistake many novices make when reading Nietzsche (and other existentially challenging writers) is to expect him to build a system of information, one clear fact at a time. A lot of the time Nietzsche’s intent is destructive — demolishing entire cultures or epoch on a grand scale, or vivisecting one’s own most intimate and cherished ideals. He is destroying the familiar and beloved in order to clear ground to build new, inconceivable understandings, for which one is not yet prepared. The work is not straightforward.

It will make far more sense if we think of this reading less as informing ourselves on what Nietzsche believed to be true, and more like learning to play a new piece of music.

We will try to understand the rhythm, phrasing, focus and emphasis of each sentence. And we will interrogate each word, to understand the range of meanings and resonances it might bear, exploring the polysemic possibilities, until one meaning crystalizes for us. Then we will play the sentence at full tempo and hear it as a spontaneously understood whole. This process will then proceed one sentence at a time, and we will carry the spontaneous understanding to the whole paragraph, then the whole preface, and eventually to the prefaces taken together (con- “together” + -ceived “taken”) as a single given. And we will experience it as given to us by Nietzsche, the least dead author the world has ever known, providing we want him to live and work to bring his work to life in this manner.

There is strong textual evidence that this is how Nietzsche wished to be read, and some of the strongest comes from the preface to Daybreak, which I will preview here, but which we will read better later:

This preface is late but not too late — what, after all, do five or six years matter? A book like this, a problem like this, is in no hurry; we both, I just as much as my book, are friends of lento. It is not for nothing that I have been a philologist, perhaps I am a philologist still, that is to say, a teacher of slow reading: — in the end I also write slowly. Nowadays it is not only my habit, it is also to my taste — a malicious taste, perhaps? — no longer to write anything which does not reduce to despair every sort of man who is ‘in a hurry’. For philology is that venerable art which demands of its votaries one thing above all: to go aside, to take time, to become still, to become slow — it is a goldsmith’s art and connoisseurship of the word which has nothing but delicate, cautious work to do and achieves nothing if it does not achieve it lento. But for precisely this reason it is more necessary than ever today, by precisely this means does it entice and enchant us the most, in the midst of an age of ‘work’, that is to say, of hurry, of indecent and perspiring haste, which wants to ‘get everything done’ at once, including every old or new book: — this art does not so easily get anything done, it teaches to read well, that is to say, to read slowly, deeply, looking cautiously before and aft, with reservations, with doors left open, with delicate eyes and fingers … My patient friends, this book desires for itself only perfect readers and philologists: learn to read me well! —

My Own Ulterior Motive

My life changed dramatically and for the better with my first encounter with Nietzsche. The experience changed how I read, what I expect from reading, what I expect from philosophy — what I expect from life.

I spent about five years immersed in Nietzsche’s world, and then the next fifteen puzzling over its implications. What kind of world is this, where the translated words of a flawed man dead for a century could radically transform my fundamental experience of life? These questions carried me in many different directions, but perhaps the most interesting was where it intersected with my professional life.

Without going too far into it, I have come to see philosophy as closely related to design, and if fact I now view philosophical works as artifacts that can be developed in designerly ways and evaluated as designs.

In this project, I hope to gather a rich set of demonstrations of where and how I see this happening and to continue developing my vocabulary and repertoire of concepts to convey and support my view of this new designerly way of approaching philosophy. To keep things simple and clean, I am going to try to keep this personal purpose in the background, and separate it from the reading, but I might add reflections to the end of some of the episodes.

Then we will start into the preface to Beyond Good and Evil, whose first line is the best of any book I’ve ever read.

Gutensperger

Biography, Ethics, Philosophy

My McLuhanite friend has been talking to me about “Gutenberg Man” — a species of human consciousness shaped by a society saturated with and shaped by the printed word. Wikipedia says:

McLuhan studies the emergence of what he calls Gutenberg Man, the subject produced by the change of consciousness wrought by the advent of the printed book. Apropos of his axiom, “The medium is the message,” McLuhan argues that technologies are not simply inventions which people employ but are the means by which people are re-invented.

*

For awhile now, I’ve noticed a kind of mentality that seems to connect with McLuhan’s concept. This mentality understands entirely in terms of cognitive objects, which entails removal of the subject from the matter to be understood, so that the matter is viewed from a point exterior to the problem.

When this mentality thinks, cognitive objects are analyzed (disassembled) and synthesized (assembled or reassembled) into systems, like an engineer tinkering with a gadget, set before him on a workbench. There is distance separating the thinker and the thoughts, and the thinking takes place across this distance. The thinker extends his intellect to the problem and puts together facts or ideas into arguments, or theories, or demonstrations. It all takes place with words. If there is no word, there is no thought. Thinking is a linguistic matter.

*

Much can be accomplished with this style of thinking, but it does have sharp limits — in what it can create, but also in what it can understand.

One realm of understanding that stands fully outside the limits of this mentality is religion. Inside its boundaries is only fundamentalism or anti-fundamentalism. It cannot even conceive the kinds of truths known to a religious mind, which is perfectly okay with them, because (to them) religion is just a mix of rustic platitudes and dangerous nonsense. Religions must be instructed by more advanced, scientific minds to COEXIST — by emphasizing the essential rustic platitudes and suppressing the inessential dangerous nonsense. But wouldn’t it just be better to keep the rustic platitudes and trash the remainder?

I find the limitations of such mentalities intensely frustrating. They stand inside their limits, demanding (with smug, smirking skepticism) a preview of what will be known beyond their limits, because, of course, “there is no there there” — and failure to produce the requested preview is evidence of this fact. Or, alternatively, they demand proof that their current way of thinking is inadequate — and if they cannot be driven from their current position with overpowering arguments, it is reasonable to conclude there are no real reasons to change their current understanding.

In both cases, a particular understanding of the nature of understanding is excluded from play, and all that is left in in play is bounded — imprisoned, in fact — within the realm of objective thought.

This exclusion prevents them from understanding their condition within the world, and supports a mode of knowing better described as bystanding themselves. Subjectively, they stand apart, oblivious to themselves, except as a bundle of thoughts about themselves (psychological, biographical, social, scientific, magical), anonymously knowing things about things.

*

Because I get mean when communication is needlessly thwarted, and because I enjoy inventing insults, I am calling this condition Gutensperger’s Syndrome. It is, like Asperger’s Syndrome, an empathic incapacity — but one caused by an incapacity to think outside the limits of objectivity and explicit language. It makes a thinker immune to radically new understandings that implicate one’s own subjectivity and potentially transform it. Those with Gutensperger protect themselves from such transformations and all its dreadful preliminaries.

*

Once I recognize a person as a Gutensperger’s case, I know that any attempt to philosophize with them will only end in tears. I must keep things shallow and light, most of all when they want to be “deep”. And they always do. But only in order to persuade themselves that they have already gotten to the bottom of things.

T. M. Krishna!

Art, Biography, Enworldment, Music, Philosophy

Sunday, Susan and I got to attend a lec-dem by the great Carnatic vocalist T. M. Krishna. We were especially excited that he was accompanied by violinist, Akkarai Subhalakshmi.

I was most excited about the musical performance part of the event, but it turns out the lecture part might have more lasting impact.

His lecture was about the history of raga forms, and his own views on the degradation of raga forms from an organic aesthetically-guided musicality to a synthetic computational model. The great loss, according to T. M. Krisha, is the ability to spontaneously feel the belonging of any part of the raga to whole. The synthetic ragas must mechanically repeat phrasings to maintain its re-cognitive character.

What shocked and excited me about what he was saying is that this precisely is a distinction I have been trying to make in my own philosophical work, distinguishing between synthetic ideas — which must be explicitly recalled and applied in constructing thoughts — versus conceptive ideas which work spontaneously and produce givens: givens of perception, of interpretation and of thought. The acquisition of a new conceptive capacity gives us new givens from nowhere, expanding our ontological range, thus enlarging our enworldment and enabling us to accommodate more truth.

I feel certain that my profound philosophical — or better, praxic — kinship with T. M. Krishna’s accounts for my instant love of his music. I conceive his music as an auditory embodiment of the very ideas that animate my thinking.

India is a living superset of every possible philosophical idea humanity will ever conceive, so I am overjoyed, but not at all surprised, to have reconceived an Indian enworldment..

I dug through T. M. Krishna’s book, A Southern Music and found some of the content from his lecture:

In the early eighteenth century, Venkatamakhin’s descendent Muddu Venkatamakhin decided to artificially create ragas for the remaining fifty-three of the seventy-two possible melas computed by his ancestor Venkatamakhin. He used the same method that had been used to create the raga deshisimharavam. This meant that all seventy-two melas were functional. The raganga raga needed to have only the seven svaras. It was around this time that arohana and avarohana came to be used to define the melodic structure of a raga. This created artificial janya ragas that were formulated from the non-functional melas. As these ragas had no aesthetic component to their identity, the simplest way to describe them was to mention the svaras that appeared in their arohana and avarohana. These svaras were after all based on the computed svarasthanas. This was another important marker in raga history. Even under the constructed melas, Muddu Venkatamakhin placed older, naturally evolved ragas. He not only gave names to all the fifty-three raganga ragas that he constructed, but also altered the names of older raganga ragas. This was done to accommodate the ingenious syllabo-numeric memory system that was evolved to identify the number of the mela from the name of the raganga raga, a system called the katapayadi samkhya.

As I move to the next major development, I must point out that the exercise of computation resulted in ragas being reinterpreted in terms of only the svaras they contained, rather than the aesthetic form of their melodic movements. This is also revealed in the use of arohana and avarohana as the defining characteristic of ragas. We must realize that once these systems came into practice, they were also being placed upon ragas that had evolved organically and were not determined by the arohana or avarohana. All ragas were being looked at through the prism of the arohana and avarohana, thus deconstructing their natural melodic features. …

Ragas that evolved from melodic phraseology developed through time and remained cohesively held together by the aesthetic cognition of unity. These ragas may have seven svaras or even less. They cannot be purely defined by the sequence of the svaras in the arohana or avarohana. Examples of this are surati, ritigaula, anandabhairavi, gaula and saveri. …

In the eighteenth century, we come across another treatise called Sangraha Chudamani (1750–1800). We know very little about the treatise or its author Govinda (not to be confused with Govinda Dikshita). This treatise completely sterilized the concept of raga and mela. Govinda combined the ideas of sampurna along with arohana and avarohana. In doing so, he decided that the ragas that held the name of the mela must have all the seven svaras in sequential order both in the arohana and avarohana. He also created a new term for the melakarta: meladhikara (the raga that has authority over the mela). Most ragas that evolved naturally did not have svaras in linear sequence and could not be meladhikaras. Only six older ragas were given the meladhikara status. Older natural ragas were listed within artificial melas whose meladhikara was a synthetic raga. The status of the raga that held the title for the mela had thus changed from being the most popular raga to the one that had authority over the mela…

With these conceptual changes to raga and the adaptation of many forms of contrived svara sequences as ragas, we are faced with an aesthetic challenge. Do all these different types of ragas have the abstract nature that is a creation of the raga’s musical heritage, phraseology and its psychological recognition? An aware listener can sense this by listening to just one phrase. In an artificial raga, the musician and the listener have to constantly connect with all the svaras present and their sequence. They cannot transcend this level of engagement and move to the real level of aesthetics of phrase forms. Why is such transcendence important?

Let me suggest an answer to that question. A raga belongs not to the literal but to the inferred. The inferred comes alive when the perceiver can be invited into the sound of the raga, which is born from every svara, every phrase, every phrase connection and the raga as a whole. This experience is only possible when the listener does not need to be reminded of the technical nature of the svara or its sequence. Synthetic ragas lack the abstractive nature both in form and in the way they can be received.

Designerly exnihilism

Biography, Design, Design Instrumentalism, Enworldment, Philosophy

Any experienced, philosophically-sensitive designer who reads the passage below will recognize how indebted design praxis is to Existentialist thought:

When we combine Heidegger’s explanation of the shift to the perspective of presence-at-hand with Sartre’s functionalist account of emotions, we obtain as a bonus an interesting explanation of our tendency to pit reason against passion. Examination of objects present-at-hand and indulgence in emotions like anger have the same origin — the recalcitrance of the world. Confronted with the broken toy, one child takes it to bits to examine it while another flies into a temper. The first deals with the recalcitrant object practically, the other ‘magically’. So reason and passion can come to seem incompatible strategies for coping with the world. The mistake of the dualist who seizes upon this and speaks of separate faculties or ‘parts of the soul’ is a failure to appreciate that, when things run smoothly, there can be no factoring out and isolation of the elements of understanding and mood, belief and desire, which are integrated in our engagement with the world.

The steepness of a hill is an undramatic example of something disclosed through mood. An important and distinctive feature of existentialist writings, however, is the demonstration that some moods and passions disclose matters of great moment. It is this which prompts one commentator to remark that the existentialists’ ‘phenomenology of the emotions … will prove to be one of their most valuable and lasting achievements’. An obvious instance is Angst, which is taken by several of our writers to intimate to us our radical freedom and individuality. I shall return to this and other examples including, by way of further initial illustration, the disclosive character imputed to sexual experience. ‘There is no doubt,’ writes Merleau-Ponty, ‘that we must recognize in modesty, desire and love in general a metaphysical significance.’ Shame and shamelessness, for example, together reveal the ‘ambiguous’ character of the body. In shame, it is revealed as an ‘object’, victim of the gaze and inspection of another. In shameless behaviour, a ‘subject’ — the dancing Salome, say — seeks to captivate another person, tum him into an ‘object’. More generally, Merleau-Ponty concludes, sexual experience is ‘an opportunity … of acquainting oneself with the human lot in its most general aspects of autonomy and dependence’.

Whether Merleau-Ponty’s particular suggestion is plausible does not matter for present purposes. What does matter is the plausibility, given the Existentialist’s view of our Being-in-the-world, of supposing that sexual and other feelings should have ‘metaphysical significance’. If our Being-in-the-world is an embodied engagement with a world that ‘opens’ itself to us through our concerns and projects, there can be no reason to think that it will be disclosed only when we take stock and reflect. On the contrary, unless its features are revealed in a more ‘proximal’ way, there would be nothing to take stock of and reflect upon. If so, it must be wrong to suppose that reason is the faculty which discovers how the world is and passion merely the arena in which our subjective reactions to this discovery are played out.

Above, I highlighted these sentences: “Confronted with the broken toy, one child takes it to bits to examine it while another flies into a temper. The first deals with the recalcitrant object practically, the other ‘magically’. So reason and passion can come to seem incompatible strategies for coping with the world.”

“Design” has always been a sharply ambiguous word, and the ambiguity has always split along these two strategies for coping with object-recalcitrance.

When engineers, and those who think in the manner of engineers (using the philosophy of technik) say the word “design”, the emphasis is usually on the practical aspects of objects.

But when “creatives” use the word “design”, the emphasis is on the passionate and magical. The goal is to use sensory and symbolic means to aesthetically and emotionally frame some artifact to crystalize within a user’s or customer’s worldview to stand apart (de-) as significant (-sign).

The trend in design is definitely toward a seamless de-severing of these two coping strategies, and instead coordinating them to return us to a smooth integration of “the elements of understanding and mood, belief and desire, which are integrated in our engagement with the world.”

But this very project of practical-magical integration requires designers to experiment with philosophy, and “frame” or “concept model” problems in multiple ways — not only to render problems more soluble on a practical level (as some designers think), but to invest the designed artifact with de-significance capable of crystallizing (or at its most magical, dissolving and recrystallizing) a person’s understanding around that artifact — and orienting them to that artifact conceptually, practically and axiosly. (I’m playing with back-forming “axiosly” from “axiology”, to mean pertaining to values. That it is uncomfortably close to the word “anxiously” is a feature, not a bug.)

The most powerful designs force rethinking of entire fields of life — for instance how iPhone put phone design in its own orbit by making it retroactively obvious that the iPhone approach is objectively the right way to design a phone.

(Rant: Upon seeing iPhone, most people were induced to reconceive what a phone can and ought to be. Seeing it, and grokking it, everyone’s understanding reshuffled to accommodate it. After the reconception and reshuffling, it no longer seemed to be an invention; it was a discovery, and iPhone was just a good execution of this newly discovered archetype. And you know, come to think of it, we all knew this truth all along. There was this precursor, and that one. Never mind that nobody did, really, or they would have tried harder to actualize it. But truth is, most people are too subjectively oblivious to catch what happened, and all that stands out to them are little objective novelties graspable by the grubby hands of IP law. Apple could only sue Google over design trifles like rounded-cornered rectangles and elastic scroll behaviors, because its primary innovation — the idea that demanded imagination, faith and perseverance to actualize — was too deep and too subjectively contagious to protect. How else can a phone be designed? It takes a Steve Jobs to hear that question as more than rhetorical and to venture an answer.)

*

In my years of design, I have done numerous small, local philosophies and noticed that every really good design brief works like a spell on design teams to make perspective-shifting useful things. I call this philosophical craft “precision inspiration”.

And doing this work, day in and day out, has gradually shifted my own sense of truth, of reality, of practicality, of possibility — most of all of the permanent possibility of reconception of every thing and everything, which has cast a spell on me and made me an exnihilist.

Philosophy is designable. Philosophy-guided practice — praxis — is designable.

When we design praxis, we also redesign our overall experience of life — our enworldment.

My ambition is to be a praxis designer.

Paul Rand, classic sabra

Biography, Design

Several years ago, I bought Paul Rand’s book just to have his most famous quote represented in my sacred library in its proper fetish-form (hardback, of course): “Everything is design. Design is everything.”

*

I just watched a video of Steve Jobs reflecting on working with Paul Rand.

Jobs’s description of Rand’s designerly sabra personality is especially inspiring to me right now. I resolve to harden and spike my exterior to establish respect first. Later, if people prove themselves respectable, I will dole out friendship in small portions until I find the edges of their abilities, generosity and presumptuousness.

Not all colleagues are peers. Not all buddies are friends. I keep these distinctions very clear in my own head, and now I’m going to help others stay clear on them as well.

*

When children are misparented to believe that their own ignorant convictions are just as valid as the hard-won wisdom of older people — (or more valid, because the convictions they indoctrinated to uncritically accept are fresh and new!) — someone’s got to reparent them. Our culture cannot sustain another generation of permachildren.

Gen X was raised in conditions of Peter-Pandemonium — and it falls on us to recover and reinvent adulthood so young people can see why maturity is desirable.

*

I’m worried that if I don’t get my social topology straightened out, I risk becoming an everse-sabra.

Design activism

Biography, Design, Design Instrumentalism, Enworldment, Philosophy

All design praxis is guided by a glorious hybrid of existentialist and pragmatist ideas, interbred and naturally selected for maximum effectiveness. This is true for monocentric design disciplines (UX, CX, and all the other X-disciplines, where designers focus on the experience of a single person encountering a designed thing) — and it even more  true for polycentric design disciplines (where networks of people interact with one another and with things, each having an intentionally formed experience of that network and its constituent elements, some of whom are fellow persons). Today, service design is the most prominent example of polycentric design.* (See note below.)

Any design project potentially conveys this praxis (and a taste of its enworldment) to those who actively participate in the project, and for that reason all design projects are, to some degree, interesting to me.

But the design projects that are most fascinating are ones where the designed systems themselves (not only the designing of the system) serve the propagation of design praxis and designerly enworldment.

The latter is a kind of activism I find inspiring.

For this reason, I am prioritizing educational service design, in collaboration with my wife Susan.

My goal: I want people to approach all problems as polycentric design problems.

I want to do this by 1) clarifying, developing and articulating the tacit philosophy of polycentric design praxis, 2) by involving as many people as possible in doing and learning polycentric design, 3) encouraging design practitioners to use design praxis as their primary life praxis (most importantly in their political thinking!), and 4) by redesigning education to teach polycentric design praxis, and thereby conserve and perpetually reform liberal democracy.

*

“Everything is design. Design is everything.” — Paul Rand

  * Note: I believe the world is badly in need of other forms of polycentric design where interactions are less hierarchical, more equal, and where roles in a system are not clearly defined in consumer and provider terms, and less amenable to being characterized in terms of service. (Service designers might object and offer redescriptions of social systems using service logic, but to me — and, I hypothesize, most people outside the service design profession — this will feel like a reductionistic stretch. Polycentric design is designing for pluralism.

Re-cranking the writing machine

Biography, Enworldment, Philosophy

(I’m trying to get back to publishing my ideas, even when they are far from perfect. For some reason I’ve been inclined to leave most of what I write private, but I’m going to make myself start putting things out there again. )

My immersion in the philosophical work of Jan Zwicky has given me a much sharper sense of what I want my book to 1) be and 2) do.

I want it to be a beautiful and dense work — of the kind I, myself, love. As much as I’d love readers to understand and be persuaded by my thoughts, explanatory or persuasive writing is not what I enjoy doing. Even more importantly, it is not what I love reading. I put enormous effort into cracking into difficult ideas —  if I sense something momentous and sublime in them. I am bored and impatient with books that take on too much of the task of explaining and persuading. I don’t want that understanding done for me. I don’t like reading examples and stories. I’ll find my own meaning, connections and applications.

My book will be as simple as possible, but for the sake of aesthetics, not for making things easy for lazy, complacent, merely curious readers. Those lacking urgency and pain-tolerance are invited to give up. That is a virtue, not a flaw.

I want my book to do several things.

  1. I want by book to defend that mode of understanding that Zwicky calls lyric and connects with gestalt psychology. Lyric understanding responds to reality in a way independent of, irreducible to, but intimately related with the form of thinking she calls analytic. She acknowledges the value of analytic thought, but believes it is currently failing to coexist with lyric understanding, one result of which is seeing nature as something to dominate. She outlines a different relationship — one which balances lyric sensitivity to the real with analytic practicality (and for beings like us an unavoidable necessity) in a stance she calls “domestic”. I have a different vocabulary from hers, and I think it has some powerful application in everyday social life, especially social life infused with design practice. I think design represents not only a way to produce domestic artifacts, but a way to think domestically. I want to design a simple, practical philosophy equipped with sharp, hard, gleaming vocabulary that can be deployed with confidence, force and grace against analytic hegemony — (that mindset I’ve been deriding as “wordworld”) — a language-dominated worldview that according to itself is justified to reject as unreal, or at least irrelevant, whatever cannot be made explicit, said, and, ideally, measured.

  2. I will insist that when words and logic fail to do justice to our intuitive relationship reality, it is the words and logic that must yield — ideally to new and better words and logic that do. Perhaps the words and logic will conform to the intuitive sense, or perhaps word and logic will provide new intuitive access (that is, it will spark a conversion). But both the intuitive sense of reality and the language and logic must be satisfied, neither dominating the other. What absolutely must go is the this modernistic conceit that we can change our nature and sense of reality through brute effort. Whatever we do — whatever we are coerced to do for a long time — will eventually become habit and seem natural.  Change is possible — profound change is possible — but it must, must, MUST answer to our lyric sense, not rape it with logical and conceptual constructs.

  • This is true for art. For instance, serial music is purely synthetic production, and its embrace by the classical music profession helped sink its relevance. It did not become familiar and beautiful to any but a small, determined and concept-bound few.
  • It is true for technology. People have lost the new perspective on digital devices that Steve Jobs taught us (or at least some of us) — that the difference that really makes a difference is experience. We’ve relapsed into spec lists, feature lists, superficial styling. Consequently, the experience of digital interfaces in use (what “user experience” used to mean) have degraded precipitously. Because, for many, these digital interfaces serve as interfaces to much of life itself (we interact with each other, transact through them and learn most of what we know about the world through them) — our lives have degraded with it. Indeed, we ourselves have degraded in ways we are too degraded to notice.
  • And it is true for the ways we think. I do not mean what we think. I do not mean our facility with logic or math. I mean how we intellectually relate ourselves to reality. This intellectual relating produces truth (of varying quality) but is not reducible to truth content. Truth is instaurated in the process of collaborating with reality, not constructed according to our meager stock of concepts and our hopes. To believe truth is purely constructed and that reality will eventually conform to what we construct could be called toxic Apollinianism.

Not every truth construct or art construct or art construct will become, with time and practice, second-nature. Forced exposure or use of a purely synthetic construct will only desensitize our intuitions and alienate us from reality until we no longer expect intuitive contact or miss it if it is absent. The consequence of too much alienation from conceptivity, with too much reliance on synthetic substitutes is nihilism and anomie. I believe this is the core cause of our current cultural crisis. We do far too much synthetic thinking-about, and far too little intuitive interacting-with or participating-in. Consequently reality has become unreal to us. It feels horrible, but the worst afflicted — our children — don’t know there is any other way to be.

  1. I want to lay out a framework I’ve been using for the last fifteen years to think about design research and craft.
  • Like art, design is a coordination of meaningful wholes and parts (which are themselves wholes): this is conceptive. It “together-takes” new givens, which can then be thought about synthetically.
  • Like engineering, design is a coordination of functional parts into systematic wholes: this is synthetic understanding. It explicitly “together-puts” givens into theories, arguments, proofs and so on, which sometimes but often cannot be conceived as new givens.
  • Design, unlike art and engineering, attempts to accomplish both orders at once. When we do this successfully, we achieve what I believe Zwicky calls “domesticity”. I’ve suggested to her that the book I am writing is an outline of domestic philosophy.

I’m ending here. This is pretty bad, but it will help me rebuild momentum.

Voluminosity

Biography

When I first moved to Atlanta, I saw it primarily through the windsheilds of cars and windows of buildings.

During my brief but transformative residence in Toronto I learned to rely on my bicycle as my primary mode of transportation.

Returning to Atlanta, and experiencing it from my bicycle changed my conception of its space. What had been a network of linear tracks and decision-points, connecting interior with interior, was now revealed to be a wide-open terrain of free movement. The linear network was densely crisscrossed with shortcuts across alleyways, parking lots, lawns and wooded areas. Whatever path I chose was lined with sounds and smells and faces. Flowing with traffic was not enforced. I could notice, interact, stop, pull over, take in where I am.

But that isn’t the end of it. My new alertness to birds has lifted this free plane above the ground, and raised it up into the trees and over the buildings. It has also filled up the interstices of all possible paths, flowing into gullies, gardens, underbrush and hidden places. It turns out that Atlanta is a reverberant, living volume. I cannot tune it out, and I feel crazy.

*

There are so many worlds in this world, populating it, radiating intelligence into it. Myriads within myriads — a zillion everythings.

Loss and honesty

Biography, Ethics

Jan Zwicky:

Loss is perhaps the ultimate philosophical problem — and death, only incidentally and to the extent it is experienced as loss by those who remain alive. The great absolute architectonics of systematic thought are intended to secure the world against loss. Maturity is achieved when things are let go, left to be on their own, allowed their specificity — for when things become most fully themselves, they also become most fully losable. To abandon classical system is to accept, in the sense of comprehend, the ontological necessity of loss. The more precious a thing is, the greater becomes its power to hurt us by simply being absent. We end up ‘leaving each thing as it is’ in two senses of the word ‘leave’.

This is agonizingly true.

I have come to detest self-evasion: abandonment of our first-person post, and flying to the safety of third-person.

I reject treating our unique selves and the unique, irreplaceable, precious people and things we love as mere types or identities.

I refuse to generalize and depersonalize in order to distribute the weight of intense, focused caring out into out speculative views-from-everywhere-at-once, better known as views-from-nowhere, but which I prefer to call views-from-anywhere-but-I.

*

I really, really hate it when people smile down at me from the heights of their wise serenity and assure me that Jesus or the Buddha or Marx or Science or Nature or any other gnostic vendor has washed away all their pain.

As if pain were the mark of insufficient wisdom.

Here is what I want to say to say back:

“If you hurt, please don’t pretend you don’t hurt — that you’ve shed the pain you still plainly carry.

And cut the phony bravado — you are afraid to hurt.

But we are all afraid, and perhaps we ought to be afraid — not because the world is scary and fear is the most intelligent response — but because fear is the honest and decent response of anyone who still loves.

Don’t add the suffering of shame to your pain and your dread of pain. Bear it bravely and honestly.”

Honesty — most of all subjective honesty — unenforceable, voluntary, undisprovable honesty — this is what matters most to me.

Shame is the enemy of subjective honesty.

When I pick up the scent of subjective dishonesty or subjective insensitivity so out of touch with itself that no longer even knows if it is lying or not (only whether a claim is defensible or not), I can no longer do much but feel a sad distance — a distance that only polite kindness can traverse, from one me to another, through a we-less vacuum. You need people, even yourself, to be easy come, easy go.

*

Maybe someday some miraculous epiphany will enter my soul and remove all my pain.

But I promise, I will never, ever pretend to be there until I am actually there.

I will be proud of my subjective honesty until I find something better to be proud of.

*

This is a crucial passage. I love this book.

Filled with birdsong

Biography, Philosophy

I am back to actively conceiving chaos as too many simultaneous orders.

Those orders are there to be selected or filtered, recognized or discognized, to be systematized or articulated or relegated to background noise.

Every enworldment includes and excludes, project, rejects, models, compares.

*

Here is some chaos…

*

Weeks ago, I read a passage that referred to a nightingale’s song. I realized that I had no experience of that song to recall, and that this idea was incomplete. Sadly, all I could connect it to was a passage for Voegelin I read years ago and loved, but which did not move me to listen:

The nightingale still sings its heart-rending, throat-filled song against Death. The significance a musical composition has for me is determined by the degree to which it brings back again this sweet state of anguish between Death and Life.

I found a three-hour video of nightingale song and left it playing for two hours.

Now, I find I’ve lost my ability to tune our birdsong. It is constant and it fills the air with alien intelligence.

This reminds me of an old reflection on participating in Torah study:

In Torah Study, the personalities gathered in the room sparkle against the ground of the text. Insight by insight, the flat black sky deepens into limitless space as it fills up with stars.

Space flooded, saturated with radiant points of intelligibility.

(My friend Callen said that this dispersal of alien intelligence is what pulled him into obsessive birding. I connected this with the memory of an anole, emerald with alarm, skiddling across the road in front of my bike, and wondering about that anole’s intention and experience. Birds multiply these points of intention and experience, and scatter them into the depths of the air, audibly present or absent, whenever we listen out for them.)

This conception makes me feel the inconceivable potentiality of God much more immediately than other more traditional religious notions, but I feel sure that the faith behind this conception is the same — and I want it to be.

Why? I do not want to be alone, neither here nor now.

*

If you think yourself far enough into isolation, you will want to think yourself back to communion. Because you are human.

*

Human beings need to share faith. Sharing faith puts our roots in the soil.

We do not need to share beliefs.

A striving to agree on beliefs can break commonality of faith.

Worship is a matter of faith, and theology is a matter of beliefs.

Let’s stop calling religions “belief systems”.

Let’s stop theorizing about what theory can never comprehend.

Rather, let’s take our place in infinitude and see how much commonality we can radiate.

*

The glory of shared faith is the efflorescence of divergent ideas, ideas that can feel themselves emanating from something shared — in the overlapping harmonizing and intriguingly cacophonizing interpretations of something revered together as transcendent to any one mind.

*

I think I might leave my headphones at home next time I ride my bicycle, and instead bring binoculars.

*

Facts cannot nourish us. Facts about facts about facts positively starve us. Consumer politics, personal politics, the craving for political righteousness is soul pica.

This desperation to feel ourselves to be good people… why? For a time I tried not being a good person. I wanted others to stop finding it so easy to trust me. And I learned from that.

*

Peter Brook, via Jan Zwicky:

When Ted Hughes first came to Paris to a session of our work. we improvised for him on random syllables, then on a piece by Aeschylus. He at once began his own experiments, searching to create first of all roots of language and then what he described as “great blocks of sound.”

From here to Orghast was of course a long and intricate journey. But in taking on the incredible task of inventing a phonetic language, in an odd way Ted Hughes was doing what poets do all the time. Every poet works through several semi-conscious levels – let’s call them A to Z. At level Z energies are boiling mside hun, but they are completely out of the range of his perceptions. At level A they have been captured and shaped into a series of words on paper. In between, at levels from B to Y, the poet is half-hearing, half-makmg syllables that drop in and out of swirls of inner movement. Sometimes, he perceives these prewords and preconcepts as moving forms, sometmies as murmurs, as patterns of sound that are on the brink of words, sometimes as musical values that are becoming recognizable and precise. But in fact, they are not strangers to him — he lives with them all the time. The great originality and daring of Ted Hughes lay in working openly in an area that gained a control and freedom that makes the subsequent Orghast impossible to separate into sense and sound.

So many of us live here.

We can think in the nebulous reality of unformatted ideas.

We can also assemble formatted ideas into new shapes, and there is novelty here, too.

But I am both tormented and intrigued by the ideas that are unrecognized, because they haven’t even yet been cognized — inaccessible even to metaphor, because there is not yet a distinct This to liken to That.

*

We know cities by strands of road. Alongside the road are homes and buildings, each with an interior. My job has brought me to some interiors, where I have been taught new ways to understand by occupants of these secret spaces. I never once heard the birdsong in the yards, but now it is there.

*

There are worlds within the world
Within the world there are worlds
The situation is the universe of man
As the measure of all things
Understand that you are another world in miniature
And that in you there are the sun, the moon and also stars
Man as the messenger of being
By analogy flesh and bones of man derive from earth
His bloody from water, his breath from air
And body heat from fire.

*

The first time I sat in meditation, my mind was filled with random babble.

From time to time, a sound would snap into morphemic recognition, and then roll into a word, a thought, a memory, and then I was no longer observing my breath.

One faintly reminded me of some Star Trek and a vivid image of the U.S.S Enterprise flying through space jolted me back to attention,

*

Truth comes pre-formatted. Truth must be encased in the concepts and logic of the time.

If you do not adopt the format, your nonsense will fall on deaf ears and deafening arguments.

The format is the colosseum. Arm yourself, and prepare for battle. You will die by your confusion.

*

I really, really hate argument. I hate doing it. I hate reading it.

I want to live more “indexically”, as Garfinkel put it.

See?

*

Stop fighting. It is ok to have been wrong. We don’t have to be good. Share faith.

Taste in scales

Biography, Philosophy

Jan Zwicky speaks of resonant relationships among wholes. These wholes are not clarified through analysis, nor are they built up piece by piece through synthesis. In my preferred vocabulary, I would say that they are wholes conceived as given. Their meaning comes not from the atomic bits that compose them, but from the articulate whole that comprises them. The articulations that relationally differentiate participants-within-wholes interpenetrate and crisscross all that is, producing a complex field of possible likeness, each a resonance, a taken-together given.

In the past I have visualized the relationship of the synthesized truth with the conceived truth — of the composed world with the comprised world — of the systematized with the articulate — as an overlaid top-down and bottom-up triangle.

*

This week I have been revisiting an old theme connected with service design: altitude and granularity.

One of the formative intellectual developments of my generation was chaos theory. We came of age when computers became capable of visualizing fractal geometric figures, and when James Gleick’s Chaos was published. For many Gen-X nerds, nonlinearity, the butterfly effect, and scalar self-similarity became part of our basic conceptual equipment at the precise age when nerds self-equip.

So for me, with hours of playing with the Mandelbrot Set in my memory, zooming in and out and noting what wholes and parts come into prominence within a visual field as it is magnified or reduced, altitude and granularity are experience-near concepts and I see them everywhere in everything. And I am seeing them in Zwicky’s observations of resonance.

Every altitude of inquiry produces different salient conceptions.

Imagine specificity and generality of a subject presented in different kinds of text. Compare a detailed ethnomethodological study with a book about ethnomethodology, with a sociology textbook. Each looks upon its subject from a particular altitude, and handles ideas of particular types (a particular case, a specific method, a general field of inquiry), putting them into systematic or articulate relation, each with a certain grain and texture and tone.

I’ve found that my own mind responds well to some altitudes and granularities better than others. They are very precise — I like to understand things up-close and at an interpersonal level. Sweeping histories that do not anchor in individual experience feel unreal to me. But great social trends that can be shown in terms of artistic style are real. I can absorb an aesthetic style and sense the enworldment that produces it. But discussion of social forces and policy conflicts — again unreal. Grand military history — meaningless. Geography defined by ecosystems or by societies subsisting on various natural resources — nebulous and vacant. A survey of the world’s religions — now the entire world is colorfully mapped. Stories of particular people in particular places. Borges snd Casares made Argentina real for me; Ben Okri, Nigeria.

It seems nothing in the world is real to me unless it is refracted through another person’s lived experience. Only enworldments enworld my world.

If information is presented objectively, out of reference from some particular person’s enworldment, it means nothing to me. The only science I care about is the science a real human scientist did — Robert Boyle, Ben Franklin, Lois Pasteur — so, thank you, STS. I cannot see science apart from the stories of people in laboratories or observatories, or working at desks, interacting with equipment a\that provides them obscure clues in the form of messy data, which they, like me, struggle to bring into persuasive order. The persuasive order — the “science” — that is no foundation for making sense of this world we inhabit!

Years ago, Nietzsche consoled me by painting this portrait:

The truly efficient and successful scholars could one and all be described as ’employees’. When in their youth they had perfected their skills and crammed their memories, when hand and eye had acquired certainty, they were directed by an older scholar to a place in science where their qualities would be useful; later on, after they themselves had become accomplished enough to detect the gaps and faults in their science, they posted themselves of their own accord to where they were needed. These natures one and all exist for the sake of science: but there are rarer, rarely successful and wholly mature natures ‘for the sake of whom science exists’ — at least that is what they themselves think — : frequently unpleasant, frequently arrogant, frequently wrong-headed but almost always to a certain extent bewitching men. They are not employees, neither are they employers, they avail themselves of that which these have laboured to ascertain and do so with a certain princely composure and rarely with more than a modicum of praise: as though, indeed, those employees and employers belonged to a lower species of beings. And yet they possess precisely the same qualities as these employers and employees do, and sometimes even in an inferior state of development: they are, moreover, characterized by a narrow limitedness foreign to the former, on account of which it is impossible to appoint them to a post or see in them usable instruments — they can live only in their own atmosphere and on their own soil. This limitedness proffers them all of a science that ‘belongs to them’, that is to say all they can bear home with them to their atmosphere and dwelling; they fancy they are collecting together their scattered ‘property’. If they are prevented from constructing their own nest they perish like houseless birds; unfreedom is phthisis to them. If they cultivate individual regions of science in the way the others do, it is always only those regions where the fruit and seeds they themselves need will prosper; what is it to them if science as a whole has regions untilled and ill cultivated? They lack all impersonal interest in a problem; just as they themselves are personalities through and through, so all their insights and acquirements in the field of knowledge coalesce together into a personality, into a living multiplicity whose individual parts are dependent on one another, cleave to one another, are nourished by the same food, and as a whole possesses its own atmosphere and its own odour. — Natures such as this produce, with their personality-informed structures of knowledge, that illusion that a science (or even the whole of philosophy) is finished and has reached its goal; it is the life in their structure that performs this magic, which has at times been very fateful for science and misleading for those able and efficient workers of the spirit just described, though at other times, when aridity and exhaustion have reigned, it has acted as a balm and like the breath of a cool, refreshing oasis. — The name usually given to such men is philosophers.

Free

Biography, Ethics

Anything of great importance is pristinely voluntary. We can conceive its truth or we can leave it unconceived and inconceivable. It is entirely our choice.

Even acknowledging the importance of importance is voluntary. Anyone who wishes, can see only unimportance.

We all have our reasons, and it is important to give each their own.

*

At first I expected every decent person to engage with me in philosophy.

Then I expected only my good friends to engage with me in philosophy.

Then I expected only my good philosophical friends to engage with me in philosophy.

I now expect only those who freely choose it to engage with me in philosophy.

Anyone who doesn’t want to is free not to.

I think I even feel this way, now.

Let’s see if it sticks.

Uniquely qualified

Biography

Each of us has our own good reason to believe we are uniquely qualified to teach the rest of humanity about reality — not least of which is the fact that each of us can truthfully say: I was born into the center of existence and have experienced reality from that privileged vantage point my whole life.

This is why — though many other people know many different things — when it comes to what really matters, what is most relevant, what gets to the heart of it all, you are the authority. You concentrated on the one thing needful. This is why wise people come to you for wisdom.