The error of radical finalism, as also that of radical mechanism, is to extend too far the application of certain concepts that are natural to our intellect. Originally, we think only in order to act. Our intellect has been cast in the mold of action. Speculation is a luxury, while action is a necessity. Now, in order to act, we begin by proposing an end; we make a plan, then we go on to the detail of the mechanism which will bring it to pass. This latter operation is possible only if we know what we can reckon on. We must therefore have managed to extract resemblances from nature, which enable us to anticipate the future. Thus we must, consciously or unconsciously, have made use of the law of causality. Moreover, the more sharply the idea of efficient causality is defined in our mind, the more it takes the form of a mechanical causality. And this scheme, in its turn, is the more mathematical according as it expresses a more rigorous necessity. That is why we have only to follow the bent of our mind to become mathematicians. But, on the other hand, this natural mathematics is only the rigid unconscious skeleton beneath our conscious supple habit of linking the same causes to the same effects; and the usual object of this habit is to guide actions inspired by intentions, or, what comes to the same, to direct movements combined with a view to reproducing a pattern. We are born artisans as we are born geometricians, and indeed we are geometricians only because we are artisans. Thus the human intellect, inasmuch as it is fashioned for the needs of human action, is an intellect which proceeds at the same time by intention and by calculation, by adapting means to ends and by thinking out mechanisms of more and more geometrical form. Whether nature be conceived as an immense machine regulated by mathematical laws, or as the realization of a plan, these two ways of regarding it are only the consummation of two tendencies of mind which are complementary to each other, and which have their origin in the same vital necessities. Continue reading “THE THREE R’s”
Thinking cuts furrows into the soil of being. (Heidegger)
Where can I find a man who has forgotten words, so I can talk with him? (Zhuangzi)
To say we have gone further down the rabbit hole the past few years is to measure the present against some vision of normality. It certainly seems as though there is some level of absurdity underpinning events within the modern global culture. Metrics tell us we have never been better off, whilst other metrics tell us we are on the brink of catastrophe. It is within this context that I have been trying to make some sense of what the hell is going on, for some time now but with an earnest over the past few years. This has lead me down several rabbit holes, forcing me to confront my own vision of normality. This year I have read several profound books which have helped me further clarify what I think might describe how things have come to be the way they are. It is not a case of what we think, but how. This is such a simple statement to make, but a much harder one to fully comprehend the significance of.
I started this year by reading Iain McGilchrist’s The Master and his Emissary and everything fell into place. Building on and clarifying an intuition that had been growing, this book set the tone for what I would read and think about this year. McGilchrist says, “certainty is the greatest of all illusions: whatever kind of fundamentalism it may underwrite, that of religion or of science, it is what the ancients meant by hubris. The only certainty, it seems to me, is that those who believe they are certainly right are certainly wrong,” adding that, “none of us actually lives as though there were no truth. Our problem is more with the notion of a single, unchanging truth.” And this, it seems to me, is where we are at today. Politics aside, no one seems to have illustrated this global predicament more this year than Jordan Peterson. I read Maps of Meaning after The Master and his Emissary, at the suggestion that Peterson’s ideas mapped somewhat onto McGilchrist’s. It is perhaps this that has occupied my academic enquiry the most this year.
The other two books that most occupied me this year were Charles Eisenstein’s Sacred Economics and George Lakoff and Mark Johnson’s Philosophy in the Flesh. Whilst quite different to McGilchrist and Peterson, I have found a common thread underpinning these four books, illuminated along the way by returning to Heraclitus, and a new (to me) philosophical translation of the Daodejing by Roger T. Ames and David L. Hall. The implications of this leave no aspect of ourselves and our relationships with each other and our environment untouched, and an appreciation of which could lead the way to a more harmonious way of life. Eisenstein says:
Under the sway of dualism, we have essentially sought to divide the world into two parts, one infinite and the other finite, and then to live wholly in the latter which, because it is finite, is amenable to control. Our lordship over nature is at heart an egregious self-deception, because its first step is to attempt nature’s precipitous reduction, which is equally a reduction of life, a reduction of experience, a reduction of feeling, and a reduction of being: a true Faustian exchange of the infinite for the finite. This reduction comes in many guises and goes by many names. It is the domestication of the wild; it is the measuring and quantification of nature; it is the conversion of cultural, natural, social, and spiritual wealth into money. Because it is a reduction of life, violence is its inevitable accompaniment; hence the rising crescendo of violence that has bled our civilisation for thousands of years and approaches its feverish apogee as we conclude the present wholesale destruction of entire species, oceans, ecosystems, languages, cultures, and peoples.
What follows is my analysis of a way of thinking that has been influenced this year by these books. A few disclaimers: I have done my best to eschew the ‘poeticism’ of my previous years in review and write as clearly and succinctly as possible. It is of course impossible and pointless for me to summarise large academic texts, so I would refer you to the books themselves for the full extrapolation. Rather, I have taken sections from each to build up a picture of how various seemingly different ideas are implicitly interlinked. Despite my intentions, this is not an academic essay and therefore I am well aware that, whilst I have tried hard not to, I may seem to contradict myself in places and to use some terminology confusingly. My hope is that, if you are interested in thinking about the world, you may want to engage with these ideas in constructive discussion. I certainly would not confess to having things figured out, but I feel comfortable, perhaps for the first time in my life, with my narrative.
Adam John Miller
20th December 2018
There is no certainty, fixity or isolation in nature. Things we make give the illusion of being so. Machines give us the idea that the world is made from bits put together. At least in the so-called ‘life’ sciences, we still imagine that things are mechanical, in just this way, while in physics the idea was discarded around a hundred years ago. We talk of the brain having wiring, circuitry and switches, of its ‘functioning’, ‘processing’ information, etc From this you might deduce that we knew exactly what sort of thing a brain was, or at least what sort of thing a neurone was, but in reality we don’t have the slightest idea. In fact every individual cell is a quite extraordinarily complex self-regulating and self-repairing system entirely unlike any wire that ever existed. It forms tens of thousands of connections. As there are billions of neurones involved, the number of connections is virtually infinite. And everything in such a system is reciprocal rather than linear. This is not like anything we can know.
Though people talk of the problem of consciousness, I would be inclined to turn things on their head and say, ‘What problem? The real problem is matter.’ Consciousness we know inside and out; but matter, that is closed to us. In fact it is its closed quality, its way of offering resistance to consciousness, that defines it. The existence and nature of matter is at least as hard to explain as the existence and nature of consciousness – I would say harder: it is just the familiarity with which we treat it every day that makes matter seem simple.
It probably sounds like a cop out, but I do believe that prescriptions are one of the reasons we are so messed up nowadays. We always have to have a plan, an algorithm, a set of bullet points, and that immediately narrows things down, so we imagine that we just need to put this plan into action. It discounts the creative, the spontaneous, the improvised, the unexpected, the fruits of the imagination of those who take the ‘plan’ forward. What I can see now is limited; what others may see is limitless. Our plans are always at too local, too detailed a level. For example, if you want to educate people, you don’t give them a lot of procedures to carry out or just information to spew. You inculcate habits of mind: curiosity, a habit of sceptical questioning, enthusiasm, creativity, patience, self-discipline – the rest comes naturally. Equally you can’t go into a country and set up the structures of democracy. That is back to front, and they will inevitably fail. What is needed is a habit of mind that sees the value in democratic institutions; in time they will then emerge naturally, and flourish.
It is irrational, and in the end unscientific, to imagine that we understand everything because we have a way of analysing it into ever smaller parts. We are seduced by the simplistic take on the world offered to us by our left hemisphere, the part of us that we know actually sees less, and certainly understands less. The worst and most damaging aspect of this is the arrogance of those scientific materialists who believe they know it all – the internet is full of the evidence of their rage and intolerance towards anyone who does not buy their philosophy. Their minds are as firmly closed as those of any religious fundamentalist – and let me make clear that I find religious fundamentalism every bit as mindless and as damaging. The arts, I believe, have a pivotal role in putting us in touch with the transcendent, with whatever it is that is beyond us. They are core to a civilisation, measures of its health, and should be treated as such by government. They are not an optional extra. But they also matter too urgently to become purely intellectual games. They need to have viscera, and affect us viscerally. Which is not at all the same as saying ‘gutsy’, in the sense of constantly ‘shocking’ and ‘daring’ – in fact rather the opposite. They need to stop being just ‘clever-clever’, ironic, disaffected, ‘above’ it all in a place from which one can see that ‘really’ there is no meaning to anything. Seeing no meaning may say more about you than about the world you are looking at.
How to bring these things about? Well, first of all we need smaller communities. We are not equipped to deal with social groups on the scale of a modern city. When Johnson said that ‘when a man is tired of London, he is tired of life’, he was talking of a city less than a tenth the size it is now, and very much more like a collection of villages. In smaller communities we recognise one another, learn about one another, feel we know whom we can trust, and are able to form bonds. We also need to live closer to our ultimate context, the natural world. We are part of it, not as we see ourselves, standing over against it, taming or subduing it to serve our deracinated urban existence. We can bring this about without losing the sense of overall connectedness. In the past, often small communities were inward-looking, developed antipathies through ignorance, and became too certain of what they believed. One of the advantages that has come with technology is that we can remain far more in touch with one another and with what others are thinking than we could before.
Iain McGilchrist in conversation with Jonathan Rowson
Full transcript and information here.
Up until now, we have sought to make the infinite finite, and thereby debased art, love, knowledge, science, and beauty all. We have sold them out. When commercial application guides science, we end up not with science but with its counterfeit: pseudoscience in service of profit. When art bows to money, we get “art” instead of art, a self-conscious self-caricature. Similar perversions result when knowledge is subordinated to power, when beauty is used to sell product, and when wealth tries to buy love or love is turned toward gaining wealth. But the age of the sellout is over.
The long ascent of the monetised realm is drawing to a close, and its role in our work and our lives is changing so as to upend long-held intuitions, fears, and limitations. Since the time of the ancient Greeks, money has been, increasingly, both a universal means and a universal end, the object of limitless desire. No longer. Its retreat has begun, and we will devote more and more of our energy to those areas that money cannot reach. The growth of leisure, or, more accurately, the growth of labor done for love, goes hand in hand with the degrowth of the money economy.
Questions immediately arise in the reader. Despite the foregoing, you may have even caught yourself thinking, “But doesn’t an artist deserve to be compensated for his work?” The intuitions of separation run so deeply! So let us rephrase it: “Doesn’t the giver of great gifts deserve to receive great gifts in return?” The answer, insofar as “deserves” means anything at all, is yes. In a sacred economy, this will happen through the mechanism of gratitude rather than compulsion. The attitude of the seller says, “I will give you this gift-but only if you pay me for it, only if you give me what I think it is worth.” (Yet no matter what the price, the seller will always feel shortchanged.) The attitude of the giver, in contrast, says, “I will give you this gift — and I trust you to give me what you think is appropriate.” If you give a great gift, and no gratitude results, then perhaps that is a sign that you have given it to the wrong person. The spirit of the Gift responds to needs. To generate gratitude is not the goal of giving; it is a sign, an indicator, that the gift was given well, that it met a need. That is another reason I disagree with certain spiritual teachings that say a person of true generosity will not desire to receive anything, even gratitude, in return.
The situation is this: some of our needs are vastly overfulfilled while others go tragically unmet. We in the richest societies have too many calories even as we starve for beautiful, fresh food; we have overlarge houses but lack spaces that truly embody our individuality and connectedness; media surround us everywhere while we starve for authentic communication. We are offered entertainment every second of the day but lack the chance to play. In the ubiquitous realm of money, we hunger for all that is intimate, personal, and unique. We know more about the lives of Michael Jackson, Princess Diana, and Lindsay Lohan than we do about our own neighbours, with the result that we really don’t know anyone, and are barely known by anyone either.
The things we need the most are the things we have become most afraid of, such as adventure, intimacy, and authentic communication. We avert our eyes and stick to comfortable topics. We hold it as a virtue to be private, to be discreet, so that no one sees our dirty laundry. Life has become a private affair. We are uncomfortable with intimacy and connection, which are among the greatest of our unmet needs today. To be truly seen and heard, to be truly known, is a deep human need. Our hunger for it is so omnipresent, so much a part of our experience of life, that we no more know what it is we are missing than a fish knows it is wet. We need way more intimacy than nearly anyone considers normal. Always hungry for it, we seek solace and sustenance in the closest available substitutes: television, shopping, pornography, conspicuous consumption — anything to ease the hurt, to feel connected, or to project an image by which we might be seen and known, or at least see and know ourselves.
Clearly, the transition to a sacred economy accompanies a transition in our psychology. Community, which in today’s parlance usually means proximity or a mere network, is a much deeper kind of connection than that: it is a sharing of one’s being, an expansion of one’s self. To be in community is to be in personal, interdependent relationship, and it comes with a price: our illusion of independence, our freedom from obligation. You can’t have it both ways. If you want community, you must be willing to be obligated, dependent, tied, attached. You will give and receive gifts that you cannot just buy somewhere. You will not be able to easily find another source. You need each other.
Charles Eisenstein, Sacred Economics: Money, Gift and Society in the Age of Transition.
More information including the whole book available under Creative Commons license here.
To be more specific, there are three primary ways in which modern artists have resolved the problem of their livelihood: they have taken second jobs, they have found patrons to support them, or they have managed to place the work itself on the market and pay the rent with fees and royalties. The underlying structure that is common to all of these—a double economy and the conversion of market wealth to gift wealth—may be easiest to see in the case of the artist who has taken a secondary job, some work more or less unrelated to his art—night watchman, merchant seaman, Berlitz teacher, doctor, or insurance executive … The second job frees his art from the burden of financial responsibility so that when he is creating the work he may turn from questions of market value and labor in the protected gift-sphere. He earns a wage in the marketplace and gives it to his art.
The case of patronage (or nowadays, grants) is a little more subtle. The artist who takes a second job becomes, in a sense, his own patron: he decides his work is worthy of support, just as the patron does, but then he himself must go out and raise the cash. The artist who manages to attract an actual patron may seem to be less involved with the market. The patron’s support is not a wage or a fee for service but a gift given in recognition of the artist’s own. With patronage, the artist’s livelihood seems to lie wholly within the gift-sphere in which the work is made. Continue reading “GIFTS”