Iowans and Alien Invasion

The Alien Invasion genre is more popular in Iowa than compared to most states, including elsewhere in the Midwest.

After being abducted by aliens a few times in a cornfield, you start to take the alien issue more seriously. Watch the movie ‘Children of the Corn’ and you’ll understand that great dangers lurk in cornfields. It’s not just dreams that are found in those fields. If you build it, you can’t be certain who or what will come.

Let’s just say that we are concerned. And we are also prepared, as another Iowan favorite is the Amateur Crime Fighters genre. Still, we are open to other possibilities, as we also like the Paranormal Romance genre. We’re undecided about the appropriate response to the unknown.

We don’t care much about the Fairy Tale genre, though. That is kid’s stuff. No one ever worries about a fairy invasion. Just don’t eat the food at the fairy banquet and you should be fine.

As for the Health & Fitness genre and the Money genre, we couldn’t care less. When the aliens invade, such mundane details of existence will be the least of our worries. Besides, the aliens offer free ‘health’ exams and, once they take over the planet, the entire monetary system won’t matter all that much.

We Iowans prefer to keep ourselves grounded with our enjoyment of the Humor genre. Maybe the aliens will turn out to have a sense of humor. Or even if not, it’s probably wise to not take things too seriously. The aliens will do what they will do.

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Popular Genres in 9 Maps
Audible.com

Funhouse Mirrors of Corporate Media

Many talk about biases in the media, by which they typically mean the ‘mainstream’ (corporate) media. Most people would agree that biases exist. Yet it is hard to find agreement about what those biases are. Maybe that is an important part of it. The issue isn’t just about biases, but how our very perception of biases becomes biased. We lose perspective because our entire reality has become so mediated by media. The more our lives become saturated with media, the less we are able to see media clearly.

It’s similar to looking into a funhouse mirror and trying to discern the meaning in the warped image one sees reflected back. Now imagine if you were surrounded by funhouse mirrors on all sides, everywhere you went. To understand the distortions of one mirror, you’d look into another mirror with different distortions. We’ve come to see the funhouse mirror as reality. We are simply arguing over which funhouse mirror is least distorted or else distorted in a way that confirms our own expectations. What most of us never think about is who are the people who make the mirrors and remain hidden behind them.

Maybe the purpose of so much media isn’t in what it shows but in what it doesn’t show. The bias isn’t necessarily toward a particular ideology but rather away from the real source of power and influence. It’s a tool of distraction, a key component of politics as spectacle. If you want to know what are the issues of greatest importance and what are the views of greatest explanatory power, pay close attention to what is ignored and dismissed, what is precluded and occluded. Look for what is absent and lacking, the gap in between what is stated and the space outside of the frame where something should be.

The failure of corporate media is as much or more ommission than it is commission. Various media figures attacking each other about their supposed biases is yet more distraction. Arguing over biases is a safe and managed debate, each side playing the role of controlled opposition for the other. But what is it that both sides avoid? What is disallowed by the propaganda model of media? What is not being spoken and represented? What is missing?

Competing Media Manipulations

I’ve been noticing something these past months. It partly relates to another thing I’ve noticed before. Facebook doesn’t always notify me when someone posts a comment and that is particularly true for strangers. I could set my account to private or whatever, but I don’t feel like doing so. What is different recently is the comments I’ve come across, when looking back at recent posts. It’s both what is posted and who is posting it that stands out.

There is a particular article from a particular website that keeps getting posted. The article is critical of Trump, listing some of his scandals and including some of the creepy pictures of him with his daughter. It’s the same article posted repeatedly for at least the past two months. More interesting, every Facebook account that is posting it is different. But they all show the account as being from Georgia (the country, not the state). I assume they are fake accounts.

I just delete the comments and block the accounts. It’s not of any great concern to me. If some organization or another wants to spam anti-Trump material, more power to them. It just makes me curious about who is behind it. And why are the accounts all portrayed as being from Georgia?

It reminds me of the paid trolls from the Clinton campaign. After a while, one begins to think that half the internet is being run as competing agendas of manufactured consent, political propaganda, perception management, public relations campaigns, astroturf, disinformation, controlled opposition, etc. All of it goes down to a deeper level beyond the obvious examples of fake news. This is magnified by how the media in general has simultaneously become concentrated into fewer hands and placed into an international system, which combined brings greater forces into clashing influence.

Meanwhile, the average person is drowning in a tidal wave of manipulation beyond his or her comprehension. The alternative media that could offer perspective too often gets lost in the noise.

Concentrated Capitalism

The concentration of the economy isn’t only happening in certain sectors, such as media. It’s becoming the norm for only a handful of mega-corporations to control their respective markets and eliminate competition.

Is it unsurprising that at the same time that the US government has become increasingly corporatist, probably already having fully become inverted totalitarianism? No, not surprising at all. This is why the majority of Americans have positive opinions of free markets and small businesses while having negative opinions of capitalism and large corporations. The problem has become obvious to the average person.

This was researched by Gustavo Grullon, Yelena Larkin and Roni Michaely, in “Are US Industries Becoming More Concentrated?“:

“More than 75% of US industries have experienced an increase in concentration levels over the last two decades. Firms in industries with the largest increases in product market concentration have enjoyed higher profit margins, positive abnormal stock returns, and more profitable M&A deals, suggesting that market power is becoming an important source of value. In real terms, the average publicly-traded firm is three times larger today than it was twenty years ago. Lax enforcement of antitrust regulations and increasing technological barriers to entry appear to be important factors behind this trend. Overall, our findings suggest that the nature of US product markets has undergone a structural shift that has weakened competition.”

Jason Zweig wrote about it in the Wall Street Journal, Disturbing New Facts About American Capitalism (full access to the article can be found on his website). The amusing part, as expected from a WSJ article, is the optimistic note it ends on:

“Still, history offers a warning. Many times in the past, winners have taken all — but seldom for long.

“Perhaps the laws of creative destruction finally have been repealed once and for all. But sooner or later, capitalism has always been able to turn yesterday’s unstoppable winners into the also-rans of today and tomorrow.”

Don’t worry, folks! Capitalism is doing just fine. Or rather, capitalism is doing what it always has and will do, until something stops it. But what is to stop capitalism from its inevitable move toward concentration, if not some even more powerful force such as a functioning democratic government not beholden to capitalist interests? Don’t look for answer to that question from the concentrated corporate media.

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Look, Ma, no competition
by David Ruccio
Real-World Economics Review Blog

The business press may have changed the language—they like to refer to such corporations as “superstar firms”—but the problem remains the same: corporations are growing larger, both absolutely and relative to the industries in which they operate.

What mainstream economists and the business press won’t acknowledge is those tendencies have existed since capitalism began. The neoclassical fantasy of perfect competition was only ever that, a fantasy.

Certainly one mid-nineteenth-century critic of both mainstream economic theory and capitalism understood that:

Every individual capital is a larger or smaller concentration of means of production, with a corresponding command over a larger or smaller labour-army. Every accumulation becomes the means of new accumulation. With the increasing mass of wealth which functions as capital, accumulation increases the concentration of that wealth in the hands of individual capitalists, and thereby widens the basis of production on a large scale and of the specific methods of capitalist production. The growth of social capital is effected by the growth of many individual capitals. All other circumstances remaining the same, individual capitals, and with them the concentration of the means of production, increase in such proportion as they form aliquot parts of the total social capital. At the same time portions of the original capitals disengage themselves and function as new independent capitals. Besides other causes, the division of property, within capitalist families, plays a great part in this. With the accumulation of capital, therefore, the number of capitalists grows to a greater or less extent. Two points characterise this kind of concentration which grows directly out of, or rather is identical with, accumulation. First: The increasing concentration of the social means of production in the hands of individual capitalists is, other things remaining equal, limited by the degree of increase of social wealth. Second: The part of social capital domiciled in each particular sphere of production is divided among many capitalists who face one another as independent commodity-producers competing with each other. Accumulation and the concentration accompanying it are, therefore, not only scattered over many points, but the increase of each functioning capital is thwarted by the formation of new and the sub-division of old capitals. Accumulation, therefore, presents itself on the one hand as increasing concentration of the means of production, and of the command over labour; on the other, as repulsion of many individual capitals one from another.

This splitting-up of the total social capital into many individual capitals or the repulsion of its fractions one from another, is counteracted by their attraction. This last does not mean that simple concentration of the means of production and of the command over labour, which is identical with accumulation. It is concentration of capitals already formed, destruction of their individual independence, expropriation of capitalist by capitalist, transformation of many small into few large capitals. This process differs from the former in this, that it only presupposes a change in the distribution of capital already to hand, and functioning; its field of action is therefore not limited by the absolute growth of social wealth, by the absolute limits of accumulation. Capital grows in one place to a huge mass in a single hand, because it has in another place been lost by many. This is centralisation proper, as distinct from accumulation and concentration.

Those of us who have actually read that text are not at all surprised by the contemporary reemergence of the concentration and centralization of capital. We have long understood that the forces of competition within capitalism create both the incentive and the means for individual firms to grow in size and to drive out other firms, thus leading to the concentration of capital. The availability of large amounts of credit and finance only makes those tendencies stronger.

And the limit?

In a given society the limit would be reached only when the entire social capital was united in the hands of either a single capitalist or a single capitalist company.

Very Serious, Important Thoughts

(1) There is Amazon’s “The Man In the High Castle”, HBO’s “The Young Pope” and Hulu’s “The Handmaid’s Tale”. They all seem quite relevant to the present. But it would be better to keep authoritarianism in fiction and not let it seep into reality.

(2) It is nice getting one thing cleared up. During Trump’s campaign, there was a question that was on many people’s minds. Is Trump actually crazy or is it all an act? Well, it turns out it isn’t an act.

(3) This is what scares me. Republicans want law and order without rule of law. That is an accurate working definition of authoritarianism.

(4) The positive side of this is that we’ve now seen the beast for what it is. Democrats like Obama going back to Republicans like Reagan put a friendly face on growing fascism. Most Americans simply didn’t want to know.

That was the situation we were stuck in for decades. But the stark reality can no longer be ignored. Now that Americans have been forced awake from their dreams, an opportunity is before us but an opportunity that requires a choice be made.

(5) Democratic partisans and establishment ignored the political left, excluded third parties, and attacked reform candidates. They did this for decades. And they were successful in disempowering and frustrating progressive change.

So now they have right-wing reactionaries to contend with. Those who have gained power will make us all pay attention. And the coming years won’t be a happy time to be alive.

This all could have been avoided. But it is what the Democrats chose. They threatened that they either would get their way in everything or they would unleash a madman on us. I hope they’re satisfied with their Pyrrhic victory.

(6) What then? That is one of my favorite questions. After thinking about one thing or another, it often comes to mind.

It can be applied to almost any issue or concern. Trump has been elected president. What then? The dog ate the cookies including the wrapper. What then?

It’s an important question.

(7) As I’m Mr. Optimism, here is another positive for you.

For as long as I can remember, many on the political right have argued that if only a real businessman were made president he would clean house and show how it is done. Well, now we know. Trump is showing us all how a businessman does politics.

It’s good to clear things up. I’m all for experiments. We tried it and that is that. No one has to speculate about what would happen if a businessman was given ultimate power. That ends that particular argument, at least for the next several generations.

What’s our next experiment? Maybe we could see how well our country continues to function after our government collapses from within. Isn’t experimenting fun!?! It is sort of like science, but without the controls. I think the peer review process will have to be done by other countries, though.

Just stick with me. I’ll keep you updated on the positives as they roll in.

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Bonus questions:

  • You’re in a bear pit. Which is worse, the large dangerous bear who is angry and hungry or the person who shoved you into the bear pit?
  • Everyone loves monkeys. Two scenarios: The Scarecrow in the Wizard of Oz being torn apart by the witch’s army of flying monkeys. And the gangster in Bruce Almighty who experiences the exiting and returning ‘home’ of a little anal-dwelling butt monkey. You must choose the lesser of two evils. Which one do you prefer?
  • What is worse, that which weakens the immune system such as HIV or that which kills so many with weakened immune systems such as pneumonia? If you could only eliminate one of these, which would it be?

Walkability, In Theory and Reality

I noticed the website for walkable cities, Walk Score, has a map. Here is a version of the map from a Redfin article:

Looking at the most top ranked walkable cities (within the green range), three fifths of them are found in the North, what Colin Woodard calls the Midlands and Yankeedom. That immediately brings to mind cultural factors, as Woodard discusses regions specifically in terms of culture. When I lived in other parts of the country such as South Carolina, North Carolina and Arizona, I don’t recall there being much of a walking culture (or bicycling culture).

Then again, I’d be careful about taking too much from that map. The map doesn’t include most of the residential areas they’ve analyzed and I doubt they are looking at every residential area in the country. So it might not be a fair representation. Towns like this one, Iowa City, aren’t on the map. They do have a ranking for Iowa City, though. It only does moderately well on walkability, according to how they measure it. It makes me wonder about what they are measuring and how. There methodology page isn’t all that clear about the specifics. I live at the edge of downtown. Within a short walk from my house, there is:

Most of the local government buildings, a senior center with senior housing, a homeless shelter and services, public mental health center, offices for doctors and dentists, two hospitals, a youth center, a city recreation center, a University of Iowa recreation center, a public library, multiple university libraries, new and used bookstores, several theaters for movies and plays, a university auditorium for large stage performances…

A farmers market, dozens of restaurants and bars, four grocery stores, lots of random stores including several used stores, a pedestrian mall, an indoor mall, a drug store, several convenience stores, university campus, a walkway and green area by the river, some small parks and two larger parks, multi-use trails leading to other parks, three neighborhood public schools along with two private schools, multiple daycare centers, four churches, some banks and a credit union, etc.

Also, a short distance from where I live, there is a Greyhound bus station and the main public bus depot, not to mention the university bus service. Public transit goes about everywhere in the city and the neighboring city of Coralville. The buses have bike racks for transporting your bike and, along with the multi-use trails, there are bike lanes. Drivers in this town are used to both pedestrians and bicyclists. It’s a fairly safe town for non-vehicular modes of travel. It’s the kind of town that you can randomly walk out into the middle of the street without looking, as distracted students do all the time, and it is highly unlikely anyone will run you over. Pedestrians and bicyclists dominate this town.

Most of the population lives in or around the downtown area. It is a growing town, but more of the housing is being built downtown with highrises. If you wanted to, you could live your entire life without leaving a square mile area.

Yet the website only gives Iowa City a 44 walk score, stating that “Iowa City is a Car-Dependent city” because “Most errands require a car.” I’m not sure what errands they are talking about. I’ve lived here for two decades without a car and I pretty much walk everywhere I go. If I wanted to go to Walmart or to one of the really big malls, I’d need a car or bus to get there. But I don’t consider Walmart and big malls to be a necessity of life.

What is also odd is that the website gives it a 77 bike score. What is different between biking and walking? There is no where you can go in Iowa City by bike that you can’t also get to by walking. I can walk, going at a face pace, from my house to the furthest reaches of the city in an hour. How many people can claim to get anywhere in their town in an hour’s walk? Probably not many. How much more walkable can a city get?

I will admit that Iowa City used to be even a nicer walkable city. When I was a kid, there were more small neighborhood grocery stores and some of them had butchers and deli counters. And when I came back as an adult, I could still inexpensively do all my Christmas shopping downtown. I will admit that the downtown isn’t as nice as it once was, at least for the average resident, ever since it became gentrified. It’s harder to find cheap fast food, besides the Subway.

What I really miss are the movie theaters. There used to be more movie theaters, three of them when I was a kid and I’ve been told there was seven at mid century. The closest to a normal movie theater left downtown is one that shows independent movies. But there are other venues downtown that do show movies as well, such as offered by the University of Iowa.

That said, none of my complaints are exactly relevant to walkability, in any basic sense. In Iowa City, there are wide sidewalks downtown, safe pedestrian intersections, easy to negotiate traffic, low speed limits, nice neighborhoods and parks to walk in, plenty of green spaces to enjoy, and much else. If you live close to downtown, it might be easier to not own a car.

So, how can pleasant small college town like Iowa City get a lower walk score than many of the crowded, traffic heavy big cities? Methinks their rankings are a bit skewed. From what I can tell, when they measure the walkability of big cities, they aren’t including the entire metropolitan area nor are they including the fact that much of the population lives in suburbs and bedroom communities. So, a big city might be walkable after your long commute to get there. Is that really walkable when few people are actually living within walking distance of what is being measured and ranked? That is a misleading and unhelpful ranking system.

In a fair analysis, the most walkable places would be the remaining small towns that still have functioning downtowns, which used to be a common feature in every county of Iowa. Some places like this continue to exist where everything a person needs is concentrated in one small area, although such places are becoming rare. But they can be still be found in any farm state. If you live in a town that is the county seat with a moderately well off local economy (maybe because of a factory or slaughter house), all of your basic amenities (grocery store, bank, public school, church, etc) likely would be closer than is possible for the average person in the most walkable big city.

I’d be curious to know how many of those small towns ever get measured for their walkability. Near to Iowa City is West Branch. They actually do have a walk score for it. Many people who live in West Branch commute to work in Iowa City and come here for other reasons. The funny thing is that they mention the commute time to downtown Iowa City from West Branch and yet they give it a higher walkability rating than Iowa City. One of my brothers lives there. Both he and his wife work in Iowa City. And neither does much walking in West Branch.

I’ve spent plenty of time in that town. I know for a fact that few people walk in West Branch because there is little to walk to. So few people walk that they didn’t bother to repair the sidewalks for decades. Besides, many of the people who use West Branch amenities don’t actually reside in West Branch, instead living in rural parts of the county. And most of the people who have houses in West Branch would rather use the amenities in Iowa City or other nearby towns such as Coraville and Cedar Rapids. Why is it’s walkability higher? Just because it is a dinky town and so you could theoretically walk from one side of it to the other in ten minutes, really?

I like the idea of rating places according to their walkability. But I’m having doubts about the methodology being used.

Imagination: Moral, Dark, and Radical

Absence is presence.
These are the fundamentals of mystery.
The Young Pope

Below is a gathering of excerpts from writings. The key issue here is imagination, specifically Edmund Burke’s moral imagination with its wardrobe but also the dark imagination and the radical imagination. I bring in some other thinkers for context: Thomas Paine, Corey Robin, Thomas Ligotti, Lewis Hyde, and Julian Jaynes.

Besides imagination, the connecting strands of thought are:

  • Pleasure, beauty, and sublimity; comfort, familiarity, intimacy, the personal, and subjectivity; embodiment, anchoring, shame, and nakedness; pain, violence, suffering, and death;
  • Darkness, awe, fear, terror, horror, and the monstrous; oppression, prejudice, and ignorance; obfuscation, obscurity, disconnection, and dissociation; the hidden, the veiled, the unknown, and the distant; mystery, madness, and deception;
  • Identity, consciousness, and metaphor; creativity, art, story, poetry, and rhetoric; literalism, realism, and dogmatism; reason, knowledge, and science;
  • Enlightenment, abstractions, ideology, revolution, and counter-revolution; nobility, power, chivalry, aristocracy, and monarchy; tradition, nostalgia, and the reactionary mind; liberalism, conservatism, and culture wars;
  • Et cetera.

The touchstone for my own thinking is what I call symbolic conflation, along with the larger context of conceptual slippage, social construction, and reality tunnels. This is closely related to what Lewis Hyde discusses in terms of metonymy, liminality, and the Trickster archetype.

Read the following as a contemplation of ideas and insights. In various ways, they connect, overlap, and resonate. Soften your focus and you might see patterns emerge. If these are all different perspectives of the same thing, what exactly is it that is being perceived? What does each view say about the individual espousing it and if not necessarily about all of humanity at least about our society?

(I must admit that my motivation for this post was mainly personal. I simply wanted to gather these writings together. They include some writings and writers that I have been thinking about for a long time. Quotes and passages from many of them can be found in previous posts on this blog. I brought them together here for the purposes of my own thinking about certain topics. I don’t post stuff like this with much expectation that it will interest anyone else, as I realize my own interests are idiosyncratic. Still, if someone comes along and finds a post like this fascinating, then I’ll know they are my soulmate. This post is only for cool people with curious minds. Ha!)

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On the Sublime and Beautiful
by Edmund Burke

Of the Passion Caused by the Sublime

THE PASSION caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. 1 In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that object which employs it. Hence arises the great power of the sublime, that, far from being produced by them, it anticipates our reasonings, and hurries us on by an irresistible force. Astonishment, as I have said, is the effect of the sublime in its highest degree; the inferior effects are admiration, reverence, and respect.

Terror

NO passion so effectually robs the mind of all its powers of acting and reasoning as fear. 1 For fear being an apprehension of pain or death, it operates in a manner that resembles actual pain. Whatever therefore is terrible, with regard to sight, is sublime too, whether this cause of terror be endued with greatness of dimensions or not; for it is impossible to look on anything as trifling, or contemptible, that may be dangerous. There are many animals, who though far from being large, are yet capable of raising ideas of the sublime, because they are considered as objects of terror. As serpents and poisonous animals of almost all kinds. And to things of great dimensions, if we annex an adventitious idea of terror, they become without comparison greater. A level plain of a vast extent on land, is certainly no mean idea; the prospect of such a plain may be as extensive as a prospect of the ocean: but can it ever fill the mind with anything so great as the ocean itself? This is owing to several causes; but it is owing to none more than this, that the ocean is an object of no small terror. Indeed, terror is in all cases whatsoever, either more openly or latently, the ruling principle of the sublime. Several languages bear a strong testimony to the affinity of these ideas. They frequently use the same word, to signify indifferently the modes of astonishment or admiration, and those of terror. [Greek] is in Greek, either fear or wonder; [Greek] is terrible or respectable; [Greek], to reverence or to fear. Vereor in Latin, is what [Greek] is in Greek. The Romans used the verb stupeo, a term which strongly marks the state of an astonished mind, to express the effect of either of simple fear or of astonishment; the word attonitus (thunder-struck) is equally expressive of the alliance of these ideas; and do not the French étonnement, and the English astonishment and amazement, point out as clearly the kindred emotions which attend fear and wonder? They who have a more general knowledge of languages, could produce, I make no doubt, many other and equally striking examples.

Obscurity

TO make anything very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes. Every one will be sensible of this, who considers how greatly night adds to our dread, in all cases of danger, and how much the notions of ghosts and goblins, of which none can form clear ideas, affect minds which give credit to the popular tales concerning such sorts of beings. Those despotic governments, which are founded on the passions of men, and principally upon the passion of fear, keep their chief as much as may be from the public eye. The policy has been the same in many cases of religion. Almost all the heathen temples were dark. Even in the barbarous temples of the Americans at this day, they keep their idol in a dark part of the hut, which is consecrated to his worship. For this purpose too the Druids performed all their ceremonies in the bosom of the darkest woods, and in the shade of the oldest and most spreading oaks. No person seems better to have understood the secret of heightening, or of setting terrible things, if I may use the expression, in their strongest light, by the force of a judicious obscurity, than Milton. His description of Death in the second book is admirably studied; it is astonishing with what a gloomy pomp, with what a significant and expressive uncertainty of strokes and colouring, he has finished the portrait of the king of terrors:

—The other shape,
If shape it might be called that shape had none
Distinguishable, in member, joint, or limb;
Or substance might be called that shadow seemed;
For each seemed either; black he stood as night;
Fierce as ten furies; terrible as hell;
And shook a deadly dart. What seemed his head
The likeness of a kingly crown had on.

In this description all is dark, uncertain, confused, terrible, and sublime to the last degree. […]

The Same Subject Continued

[…] I know several who admire and love painting, and yet who regard the objects of their admiration in that art with coolness enough in comparison of that warmth with which they are animated by affecting pieces of poetry or rhetoric. Among the common sort of people, I never could perceive that painting had much influence on their passions. It is true, that the best sorts of painting, as well as the best sorts of poetry, are not much understood in that sphere. But it is most certain, that their passions are very strongly roused by a fanatic preacher, or by the ballads of Chevy-chase, or the Children in the Wood, and by other little popular poems and tales that are current in that rank of life. I do not know of any paintings, bad or good, that produce the same effect. So that poetry, with all its obscurity, has a more general, as well as a more powerful, dominion over the passions, than the other art. And I think there are reasons in nature, why the obscure idea, when properly conveyed, should be more affecting than the clear. It is our ignorance of things that causes all our admiration, and chiefly excites our passions. Knowledge and acquaintance make the most striking causes affect but little. It is thus with the vulgar; and all men are as the vulgar in what they do not understand. The ideas of eternity and infinity are among the most affecting we have; and yet perhaps there is nothing of which we really understand so little, as of infinity and eternity. […]

Locke’s Opinion Concerning Darkness Considered

IT is Mr. Locke’s opinion, that darkness is not naturally an idea of terror; and that, though an excessive light is painful to the sense, the greatest excess of darkness is no ways troublesome. He observes indeed in another place, that a nurse or an old woman having once associated the idea of ghosts and goblins with that of darkness, night, ever after, becomes painful and horrible to the imagination. The authority of this great man is doubtless as great as that of any man can be, and it seems to stand in the way of our general principle. We have considered darkness as a cause of the sublime; and we have all along considered the sublime as depending on some modification of pain or terror: so that if darkness be no way painful or terrible to any, who have not had their minds early tainted with superstitions, it can be no source of the sublime to them. But, with all deference to such an authority, it seems to me, that an association of a more general nature, an association which takes in all mankind, and make darkness terrible; for in utter darkness it is impossible to know in what degree of safety we stand; we are ignorant of the objects that surround us; we may every moment strike against some dangerous obstruction; we may fall down a precipice the first step we take; and if an enemy approach, we know not in what quarter to defend ourselves; in such a case strength is no sure protection; wisdom can only act by guess; the boldest are staggered, and he, who would pray for nothing else towards his defence, is forced to pray for light.

As to the association of ghosts and goblins; surely it is more natural to think, that darkness, being originally an idea of terror, was chosen as a fit scene for such terrible representations, than that such representations have made darkness terrible. The mind of man very easily slides into an error of the former sort; but it is very hard to imagine, that the effect of an idea so universally terrible in all times, and in all countries, as darkness, could possibly have been owing to a set of idle stories, or to any cause of a nature so trivial, and of an operation so precarious.

Reflections on the French Revolution
by Edmund Burke

History will record, that on the morning of the 6th of October, 1789, the king and queen of France, after a day of confusion, alarm, dismay, and slaughter, lay down, under the pledged security of public faith, to indulge nature in a few hours of respite, and troubled, melancholy repose. From this sleep the queen was first startled by the voice of the sentinel at her door, who cried out her to save herself by flight—that this was the last proof of fidelity he could give—that they were upon him, and he was dead. Instantly he was cut down. A band of cruel ruffians and assassins, reeking with his blood, rushed into the chamber of the queen, and pierced with a hundred strokes of bayonets and poniards the bed, from whence this persecuted woman had but just time to fly almost naked, and, through ways unknown to the murderers, had escaped to seek refuge at the feet of a king and husband, not secure of his own life for a moment.

This king, to say no more of him, and this queen, and their infant children, (who once would have been the pride and hope of a great and generous people,) were then forced to abandon the sanctuary of the most splendid palace in the world, which they left swimming in blood, polluted by massacre, and strewed with scattered limbs and mutilated carcases. Thence they were conducted into the capital of their kingdom. […]

It is now sixteen or seventeen years since I saw the queen of France, then the dauphiness, at Versailles; and surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she just began to move in,—glittering like the morning-star, full of life, and splendour, and joy. Oh! what a revolution! and what a heart must I have to contemplate without emotion that elevation and that fall! Little did I dream when she added titles of veneration to those of enthusiastic, distant, respectful love, that she should ever be obliged to carry the sharp antidote against disgrace concealed in that bosom; little did I dream that I should have lived to see such disasters fallen upon her in a nation of gallant men, in a nation of men of honour, and of cavaliers. I thought ten thousand swords must have leaped from their scabbards to avenge even a look that threatened her with insult. But the age of chivalry is gone. That of sophisters, economists, and calculators, has succeeded; and the glory of Europe is extinguished for ever. Never, never more shall we behold that generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart, which kept alive, even in servitude itself, the spirit of an exalted freedom. The unbought grace of life, the cheap defence of nations, the nurse of manly sentiment and heroic enterprise, is gone! It is gone, that sensibility of principle, that charity of honor, which felt a stain like a wound, which inspired courage whilst it mitigated ferocity, which ennobled whatever it touched, and under which vice itself lost half its evil, by losing all its grossness.

This mixed system of opinion and sentiment had its origin in the ancient chivalry; and the principle, though varied in its appearance by the varying state of human affairs, subsisted and influenced through a long succession of generations, even to the time we live in. If it should ever be totally extinguished, the loss I fear will be great. It is this which has given its character to modern Europe. It is this which has distinguished it under all its forms of government, and distinguished it to its advantage, from the states of Asia, and possibly from those states which flourished in the most brilliant periods of the antique world. It was this, which, without confounding ranks, had produced a noble equality, and handed it down through all the gradations of social life. It was this opinion which mitigated kings into companions, and raised private men to be fellows with kings. Without force or opposition, it subdued the fierceness of pride and power; it obliged sovereigns to submit to the soft collar of social esteem, compelled stern authority to submit to elegance, and gave a dominating vanquisher of laws to be subdued by manners.

But now all is to be changed. All the pleasing illusions, which made power gentle and obedience liberal, which harmonized the different shades of life, and which, by a bland assimilation, incorporated into politics the sentiments which beautify and soften private society, are to be dissolved by this new conquering empire of light and reason. All the decent drapery of life is to be rudely torn off. All the superadded ideas, furnished from the wardrobe of a moral imagination, which the heart owns, and the understanding ratifies, as necessary to cover the defects of our naked, shivering nature, and to raise it to dignity in our own estimation, are to be exploded as a ridiculous, absurd, and antiquated fashion.

On this scheme of things, a king is but a man, a queen is but a woman; a woman is but an animal, and an animal not of the highest order. All homage paid to the sex in general as such, and without distinct views, is to be regarded as romance and folly. Regicide, and parricide, and sacrilege, are but fictions of superstition, corrupting jurisprudence by destroying its simplicity. The murder of a king, or a queen, or a bishop, or a father, are only common homicide; and if the people are by any chance, or in any way, gainers by it, a sort of homicide much the most pardonable, and into which we ought not to make too severe a scrutiny.

On the scheme of this barbarous philosophy, which is the offspring of cold hearts and muddy understandings, and which is as void of solid wisdom as it is destitute of all taste and elegance, laws are to be supported only by their own terrors, and by the concern which each individual may find in them from his own private speculations, or can spare to them from his own private interests. In the groves of their academy, at the end of every vista, you see nothing but the gallows. Nothing is left which engages the affections on the part of the commonwealth. On the principles of this mechanic philosophy, our institutions can never be embodied, if I may use the expression, in persons; so as to create in us love, veneration, admiration, or attachment. But that sort of reason which banishes the affections is incapable of filling their place. These public affections, combined with manners, are required sometimes as supplements, sometimes as correctives, always as aids to law. The precept given by a wise man, as well as a great critic, for the construction of poems, is equally true as to states:—Non satis est pulchra esse poemata, dulcia sunto. There ought to be a system of manners in every nation, which a well-formed mind would be disposed to relish. To make us love our country, our country ought to be lovely.

* * *

Rights of Man:
Being an Answer to Mr. Burke’s Attack on the French Revolution
by Thomas Paine

But Mr. Burke appears to have no idea of principles when he is contemplating Governments. “Ten years ago,” says he, “I could have felicitated France on her having a Government, without inquiring what the nature of that Government was, or how it was administered.” Is this the language of a rational man? Is it the language of a heart feeling as it ought to feel for the rights and happiness of the human race? On this ground, Mr. Burke must compliment all the Governments in the world, while the victims who suffer under them, whether sold into slavery, or tortured out of existence, are wholly forgotten. It is power, and not principles, that Mr. Burke venerates; and under this abominable depravity he is disqualified to judge between them. Thus much for his opinion as to the occasions of the French Revolution. I now proceed to other considerations.

I know a place in America called Point-no-Point, because as you proceed along the shore, gay and flowery as Mr. Burke’s language, it continually recedes and presents itself at a distance before you; but when you have got as far as you can go, there is no point at all. Just thus it is with Mr. Burke’s three hundred and sixty-six pages. It is therefore difficult to reply to him. But as the points he wishes to establish may be inferred from what he abuses, it is in his paradoxes that we must look for his arguments.

As to the tragic paintings by which Mr. Burke has outraged his own imagination, and seeks to work upon that of his readers, they are very well calculated for theatrical representation, where facts are manufactured for the sake of show, and accommodated to produce, through the weakness of sympathy, a weeping effect. But Mr. Burke should recollect that he is writing history, and not plays, and that his readers will expect truth, and not the spouting rant of high-toned exclamation.

When we see a man dramatically lamenting in a publication intended to be believed that “The age of chivalry is gone! that The glory of Europe is extinguished for ever! that The unbought grace of life (if anyone knows what it is), the cheap defence of nations, the nurse of manly sentiment and heroic enterprise is gone!” and all this because the Quixot age of chivalry nonsense is gone, what opinion can we form of his judgment, or what regard can we pay to his facts? In the rhapsody of his imagination he has discovered a world of wind mills, and his sorrows are that there are no Quixots to attack them. But if the age of aristocracy, like that of chivalry, should fall (and they had originally some connection) Mr. Burke, the trumpeter of the Order, may continue his parody to the end, and finish with exclaiming: “Othello’s occupation’s gone!”

Notwithstanding Mr. Burke’s horrid paintings, when the French Revolution is compared with the Revolutions of other countries, the astonishment will be that it is marked with so few sacrifices; but this astonishment will cease when we reflect that principles, and not persons, were the meditated objects of destruction. The mind of the nation was acted upon by a higher stimulus than what the consideration of persons could inspire, and sought a higher conquest than could be produced by the downfall of an enemy. Among the few who fell there do not appear to be any that were intentionally singled out. They all of them had their fate in the circumstances of the moment, and were not pursued with that long, cold-blooded unabated revenge which pursued the unfortunate Scotch in the affair of 1745.

Through the whole of Mr. Burke’s book I do not observe that the Bastille is mentioned more than once, and that with a kind of implication as if he were sorry it was pulled down, and wished it were built up again. “We have rebuilt Newgate,” says he, “and tenanted the mansion; and we have prisons almost as strong as the Bastille for those who dare to libel the queens of France.” As to what a madman like the person called Lord George Gordon might say, and to whom Newgate is rather a bedlam than a prison, it is unworthy a rational consideration. It was a madman that libelled, and that is sufficient apology; and it afforded an opportunity for confining him, which was the thing that was wished for. But certain it is that Mr. Burke, who does not call himself a madman (whatever other people may do), has libelled in the most unprovoked manner, and in the grossest style of the most vulgar abuse, the whole representative authority of France, and yet Mr. Burke takes his seat in the British House of Commons! From his violence and his grief, his silence on some points and his excess on others, it is difficult not to believe that Mr. Burke is sorry, extremely sorry, that arbitrary power, the power of the Pope and the Bastille, are pulled down.

Not one glance of compassion, not one commiserating reflection that I can find throughout his book, has he bestowed on those who lingered out the most wretched of lives, a life without hope in the most miserable of prisons. It is painful to behold a man employing his talents to corrupt himself. Nature has been kinder to Mr. Burke than he is to her. He is not affected by the reality of distress touching his heart, but by the showy resemblance of it striking his imagination. He pities the plumage, but forgets the dying bird. Accustomed to kiss the aristocratical hand that hath purloined him from himself, he degenerates into a composition of art, and the genuine soul of nature forsakes him. His hero or his heroine must be a tragedy-victim expiring in show, and not the real prisoner of misery, sliding into death in the silence of a dungeon.

As Mr. Burke has passed over the whole transaction of the Bastille (and his silence is nothing in his favour), and has entertained his readers with refections on supposed facts distorted into real falsehoods, I will give, since he has not, some account of the circumstances which preceded that transaction. They will serve to show that less mischief could scarcely have accompanied such an event when considered with the treacherous and hostile aggravations of the enemies of the Revolution.

The mind can hardly picture to itself a more tremendous scene than what the city of Paris exhibited at the time of taking the Bastille, and for two days before and after, nor perceive the possibility of its quieting so soon. At a distance this transaction has appeared only as an act of heroism standing on itself, and the close political connection it had with the Revolution is lost in the brilliancy of the achievement. But we are to consider it as the strength of the parties brought man to man, and contending for the issue. The Bastille was to be either the prize or the prison of the assailants. The downfall of it included the idea of the downfall of despotism, and this compounded image was become as figuratively united as Bunyan’s Doubting Castle and Giant Despair.

* * *

The Reactionary Mind
by Corey Robin
pp. 243-245

As Orwell taught, the possibilities for cruelty and violence are as limitless as the imagination that dreams them up. But the armies and agencies of today’s violence are vast bureaucracies, and vast bureaucracies need rules. Eliminating the rules does not Prometheus unbind; it just makes for more billable hours.

“No yielding. No equivocation. No lawyering this thing to death.” That was George W. Bush’s vow after 9/ 11 and his description of how the war on terror would be conducted. Like so many of Bush’s other declarations, it turned out to be an empty promise. This thing was lawyered to death. But, and this is the critical point, far from minimizing state violence— which was the great fear of the neocons— lawyering has proven to be perfectly compatible with violence. In a war already swollen with disappointment and disillusion, the realization that inevitably follows— the rule of law can, in fact, authorize the greatest adventures of violence and death, thereby draining them of sublimity— must be, for the conservative, the greatest disillusion of all.

Had they been closer readers of Burke, the neoconservatives— like Fukuyama, Roosevelt, Sorel, Schmitt, Tocqueville, Maistre, Treitschke, and so many more on the American and European right— could have seen this disillusion coming. Burke certainly did. Even as he wrote of the sublime effects of pain and danger, he was careful to insist that should those pains and dangers “press too nearly” or “too close”— that is, should they become realities rather than fantasies, should they become “conversant about the present destruction of the person”— their sublimity would disappear. They would cease to be “delightful” and restorative and become simply terrible. 64 Burke’s point was not merely that no one, in the end, really wants to die or that no one enjoys unwelcome, excruciating pain. It was that sublimity of whatever kind and source depends upon obscurity: get too close to anything, whether an object or experience, see and feel its full extent, and it loses its mystery and aura. It becomes familiar. A “great clearness” of the sort that comes from direct experience “is in some sort an enemy to all enthusiasms whatsoever.” 65 “It is our ignorance of things that causes all our admiration, and chiefly excites our passions. Knowledge and acquaintance make the most striking causes affect but little.” 66 “A clear idea,” Burke concludes, “is therefore another name for a little idea.” 67 Get to know anything, including violence, too well, and it loses whatever attribute— rejuvenation, transgression, excitement, awe— you ascribed to it when it was just an idea.

Earlier than most, Burke understood that if violence were to retain its sublimity, it had to remain a possibility, an object of fantasy— a horror movie, a video game, an essay on war. For the actuality (as opposed to the representation) of violence was at odds with the requirements of sublimity. Real, as opposed to imagined, violence entailed objects getting too close, bodies pressing too near, flesh upon flesh. Violence stripped the body of its veils; violence made its antagonists familiar to each other in a way they had never been before. Violence dispelled illusion and mystery, making things drab and dreary. That is why, in his discussion in the Reflections of the revolutionaries’ abduction of Marie Antoinette, Burke takes such pains to emphasize her “almost naked” body and turns so effortlessly to the language of clothing—“ the decent drapery of life,” the “wardrobe of the moral imagination,” “antiquated fashion,” and so on— to describe the event. 68 The disaster of the revolutionaries’ violence, for Burke, was not cruelty; it was the unsought enlightenment.

Since 9/ 11, many have complained, and rightly so, about the failure of conservatives— or their sons and daughters— to fight the war on terror themselves. For those on the left, that failure is symptomatic of the class injustice of contemporary America. But there is an additional element to the story. So long as the war on terror remains an idea— a hot topic on the blogs, a provocative op-ed, an episode of 24— it is sublime. As soon as the war on terror becomes a reality, it can be as cheerless as a discussion of the tax code and as tedious as a trip to the DMV.

Fear: The History of a Political Idea
by Corey Robin
Kindle Locations 402-406

It might seem strange that a book about political fear should assign so much space to our ideas about fear rather than to its practice. But recall what Burke said: It is not so much the actuality of a threat, but the imagined idea of that threat, that renews and restores. “If the pain and terror are so modified as not to be actually noxious; if the pain is not carried to violence, and the terror is not conversant about the present destruction of the person,” then, and only then, do we experience a delightful horror.”1 The condition of our being renewed by fear is not that we directly experience the object that threatens us, but that the object be kept at some remove move from ourselves.

Kindle Locations 1061-1066

Whether they have read The Spirit of the Laws or not, these writers are its children. With its trawling allusions to the febrile and the fervid, The Spirit of the Laws successfully aroused the conviction that terror was synonymous with barbarism, and that its cures were to be found entirely within liberalism. Thus was a new political and literary aesthetic born, a rhetoric of hyperbole suggesting that terror’s escorts were inevitably remoteness, irrationality, and darkness, and its enemies, familiarity, reason, and light. Perhaps it was this aesthetic that a young Edmund Burke had in mind when he wrote, two years after Montesquieu’s death, “To make any thing very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes.”

Kindle Locations 1608-1618

As she set about establishing a new political morality in the shadow of total terror, however, Arendt became aware of a problem that had plagued Hobbes, Montesquieu, and Tocqueville, and that Burke-not to mention makers of horror films-understood all too well: once terrors become familiar, they cease to arouse dread. The theorist who tries to establish fear as a foundation for a new politics must always find a demon darker than that of her predecessors, discover ever more novel, and more frightening, forms of fear. Thus Montesquieu, seeking to outdo Hobbes, imagined a form of terror that threatened the very basis of that which made us human. In Arendt’s case, it was her closing image of interchangeable victims and victimizers-of terror serving no interest and no party, not even its wielders; of a world ruled by no one and nothing, save the impersonal laws of motion-that yielded the necessary “radical evil” from which a new politics could emerge.

But as her friend and mentor Karl Jaspers was quick to recognize, Arendt had come upon this notion of radical evil at a terrible cost: it made moral judgment of the perpetrators of total terror nearly impossible.59 According to Origins, total terror rendered everyone-from Hitler down through the Jews, from Stalin to the kulaks-incapable of acting. Indeed, as Arendt admitted in 1963, “There exists a widespread theory, to which I also contributed [in Origins], that these crimes defy the possibility of human judgment and explode the frame of our legal institutions.”60 Total terror may have done what fear, terror, and anxiety did for her predecessors-found a new politics-but, as Arendt would come to realize in Eichmann in Jerusalem, it was a false foundation, inspiring an operatic sense of catastrophe, that ultimately let the perpetrators off the hook by obscuring the hard political realities of rule by fear.

Liberalism at Bay, Conservatism at Piay:
Fear in the Contemporary Imagination

by Corey Robin

For theorists like Locke and Burke, fear is something to be cherished, not because it alerts us to real danger or propels us to take necessary action against it, but because fear is supposed to arouse a heightened state of experience. It quickens our perceptions as no other emotion can, forcing us to see and to act in the world in new and more interesting ways, with greater moral discrimination and a more acute consciousness of our surroundings and ourselves. According to Locke, fear is “an uneasiness of the mind” and “the chief, if not only spur to human industry and action is uneasiness.” Though we might think that men and women act on behalf of desire, Locke insisted that “a little burning felt”—like fear—”pushes us more powerfully than great pleasures in prospect draw or allure.” Burke had equally low regard for pleasure. It induces a grotesque implosion of self, a “soft tranquility” approximating an advanced state of decay if not death itself.

The head reclines something on one side; the eyelids are
more closed than usual, and the eyes roll gently with an
inclination to the object, the mouth is a little opened, and
the breath drawn slowly, with now and then a low sigh;
the whole body is composed, and the hands fall idly to
the sides. All this is accompanied with an inward sense of
melting and languor . . . relaxing the solids of the whole
system.

But when we imagine the prospect of “pain and terror,” Burke added, we experience a delightful horror,” the “strongest of all passions.” Without fear, we are passive; with it, we are roused to “the strongest emotion which the mind is capable of feeling” (Locke, 1959,11.20.6,10;11.21.34: 304-5, 334; Burke, 1990: 32, 36,123,135-36).

At the political level, modem theorists have argued that fear is a spur to civic vitality and moral renewal, perhaps even a source of public freedom. Writing in the wake of the French Revolution, Tocqueville bemoaned the lethargy of modem democracy. With its free-wheeling antimonianism and social mobility, democratic society “inevitably enervates the soul, and relaxing the springs of the will, prepares a people for bondage. Then not only will they let their freedom be taken from them, but often they actually hand it over themselves” (Tocqueville, 1969:444). Lacking confidence in the traditional truths of God and king, Tocqueville believed that democracies might find a renewed confidence in the experience of fear, which could activate and ground a commitment to public freedom. “Fear,” he wrote in a note to himself, “must be put to work on behalf of liberty,” or, as he put it in Democracy in America, “Let us, then, look forward to the future with that salutary fear which makes men keep watch and ward for freedom, and not with that flabby, idle terror which makes men’s hearts sink and enervates them” (cited in Lamberti, 1989: 229; Tocqueville, 1969: 702). Armed with fear, democracy would be fortified against not only external and domestic enemies but also the inner tendency, the native desire, to dissolve into the soupy indifference of which Burke spoke.

* * *

The Dark Beauty of Unheard-Of Horrors
by Thomas Ligotti

This is how it is when a mysterious force is embodied in a human body, or in any form that is too well fixed. And a mystery explained is one robbed of its power of emotion, dwindling into a parcel of information, a tissue of rules and statistics without meaning in themselves.

Of course, mystery actually requires a measure of the concrete if it is to be perceived at all; otherwise it is only a void, the void. The thinnest mixture of this mortar, I suppose, is contained in that most basic source of mystery—darkness. Very difficult to domesticate this phenomenon, to collar it and give a name to the fear it inspires. As a verse writer once said:

The blackness at the bottom of a well
May bold most any kind of hell.

The dark, indeed, phenomenon possessing the maximum of mystery, the one most resistant to the taming of the mind and most resonant with emotions and meanings of a highly complex and subtle type. It is also extremely abstract as a provenance for supernatural horror, an elusive prodigy whose potential for fear may slip through a writer’s fingers and right past even a sensitive reader of terror tales. Obviously it is problematic in away that a solid pair of gleaming fangs at a victim’s neck is not. Hence, darkness itself is rarely used in a story as the central incarnation of the supernatural, though it often serves in a supporting role as an element of atmosphere, an extension of more concrete phenomena. The shadowy ambiance of a fictional locale almost always resolves itself into an apparition of substance, a threat with a name, if not a full blown history. Darkness may also perform in a strictly symbolic capacity, representing the abyss at the core of any genuine tale of mystery and horror. But to draw a reader’s attention to this abyss, this unnameable hell of blackness, is usually sacrificed in favor of focusing on some tangible dread pressing against the body of everyday life. From these facts may be derived an ad hoc taxonomy for dividing supernatural stories into types, or rather a spectrum of types: on the one side, those that tend to emphasize the surface manifestations of a supernatural phenomenon; on the other, those that reach toward the dark core of mystery in purest and most abstract condition. The former stories show us the bodies, big as life, of the demonic tribe of spooks, vampires, and other assorted bogeymen; the latter suggest to us the essence, far bigger than life, of that dark universal terror beyond naming which is the matrix for all other terrors. […]

Like Erich Zann’s “world of beauty,” Lovecraft’s “lay in some far cosmos of the imagination,” and like that of another  artist, it is a “beauty that hath horror in it.

The Conspiracy against the Human Race: A Contrivance of Horror
by Thomas Ligotti
pp. 41-42

As heretofore noted, consciousness may have assisted our species’ survival in the hard times of prehistory, but as it became ever more intense it evolved the potential to ruin everything if not securely muzzled. This is the problem: We must either outsmart consciousness or be thrown into its vortex of doleful factuality and suffer, as Zapffe termed it, a “dread of being”— not only of our own being but of being itself, the idea that the vacancy that might otherwise have obtained is occupied like a stall in a public lavatory of infinite dimensions, that there is a universe in which things like celestial bodies and human beings are roving about, that anything exists in the way it seems to exist, that we are part of all being until we stop being, if there is anything we may understand as being other than semblances or the appearance of semblances.

On the premise that consciousness must be obfuscated so that we might go on as we have all these years, Zapffe inferred that the sensible thing would be not to go on with the paradoxical nonsense of trying to inhibit our cardinal attribute as beings, since we can tolerate existence only if we believe— in accord with a complex of illusions, a legerdemain of duplicity— that we are not what we are: unreality on legs. As conscious beings, we must hold back that divulgement lest it break us with a sense of being things without significance or foundation, anatomies shackled to a landscape of unintelligible horrors. In plain language, we cannot live except as self-deceivers who must lie to ourselves about ourselves, as well as about our unwinnable situation in this world.

Accepting the preceding statements as containing some truth, or at least for the sake of moving on with the present narrative, it seems that we are zealots of Zapffe’s four plans for smothering consciousness: isolation (“ Being alive is all right”), anchoring (“ One Nation under God with Families, Morality, and Natural Birthrights for all”), distraction (“ Better to kill time than kill oneself”), and sublimation (“ I am writing a book titled The Conspiracy against the Human Race”). These practices make us organisms with a nimble intellect that can deceive themselves “for their own good.” Isolation, anchoring, distraction, and sublimation are among the wiles we use to keep ourselves from dispelling every illusion that keeps us up and running. Without this cognitive double-dealing, we would be exposed for what we are. It would be like looking into a mirror and for a moment seeing the skull inside our skin looking back at us with its sardonic smile. And beneath the skull— only blackness, nothing.  A little piece of our world has been peeled back, and underneath is creaking desolation— a carnival where all the rides are moving but no patrons occupy the seats. We are missing from the world we have made for ourselves. Maybe if we could resolutely gaze wide-eyed at our lives we would come to know what we really are. But that would stop the showy attraction we are inclined to think will run forever.

p. 182

That we all deserve punishment by horror is as mystifying as it is undeniable. To be an accomplice, however involuntarily, in a reasonless non-reality is cause enough for the harshest sentencing. But we have been trained so well to accept the “order” of an unreal world that we do not rebel against it. How could we? Where pain and pleasure form a corrupt alliance against us, paradise and hell are merely different divisions in the same monstrous bureaucracy. And between these two poles exists everything we know or can ever know. It is not even possible to imagine a utopia, earthly or otherwise, that can stand up under the mildest criticism. But one must take into account the shocking fact that we live on a world that spins. After considering this truth, nothing should come as a surprise.

Still, on rare occasions we do overcome hopelessness or velleity and make mutinous demands to live in a real world, one that is at least episodically ordered to our advantage. But perhaps it is only a demon of some kind that moves us to such idle insubordination, the more so to aggravate our condition in the unreal. After all, is it not wondrous that we are allowed to be both witnesses and victims of the sepulchral pomp of wasting tissue? And one thing we know is real: horror. It is so real, in fact, that we cannot be sure it could not exist without us. Yes, it needs our imaginations and our consciousness, but it does not ask or require our consent to use them. Indeed, horror operates with complete autonomy. Generating ontological havoc, it is mephitic foam upon which our lives merely float. And, ultimately, we must face up to it: Horror is more real than we are.

p. 218

Without death— meaning without our consciousness of death— no story of supernatural horror would ever have been written, nor would any other artistic representation of human life have been created for that matter. It is always there, if only between the lines or brushstrokes, or conspicuously by its absence. It is a terrific stimulus to that which is at once one of our greatest weapons and greatest weaknesses— imagination. Our minds are always on the verge of exploding with thoughts and images as we ceaselessly pound the pavement of our world. Both our most exquisite cogitations and our worst cognitive drivel announce our primal torment: We cannot linger in the stillness of nature’s vacuity. And so we have imagination to beguile us. A misbegotten hatchling of consciousness, a birth defect of our species, imagination is often revered as a sign of vigor in our make-up. But it is really just a psychic overcompensation for our impotence as beings. Denied nature’s exemption from creativity, we are indentured servants of the imaginary until the hour of our death, when the final harassments of imagination will beset us.

* * *

The Horror of the Unreal
By Peter Bebergal

The TV show “The Walking Dead” is one long exercise in tension. But the zombies—the supposed centerpiece of the show’s horror—are not particularly frightening. Gross, to be sure, but also knowable, literal. You can see them coming from yards away. They are the product of science gone wrong, or of a virus, or of some other phenomenal cause. They can be destroyed with an arrow through the brain. More aberration than genuine monsters, they lack the essential quality to truly terrify: an aspect of the unreal.

The horror writer Thomas Ligotti believes that even tales of virus-created zombies—and other essentially comprehensible creatures—can elicit what we might call, quoting the theologian Rudolf Otto, “the wholly other,” but it requires a deft hand. The best such stories “approach the realm of the supernatural,” he told me over e-mail, even if their monsters are entirely earthly. As an example, he pointed to “The Texas Chainsaw Massacre,” “wherein the brutality displayed is so deviant and strange it takes off into the uncanny.” Ligotti doesn’t require bloodthirsty villains to convey a sense of impending horror, though. “I tend to stipulate in my work that the world by its nature already exists in a state of doom rather than being in the process of doom.” […]

“Whether or not there is anything called the divine is neither here nor there,” Ligotti told me. “It’s irrelevant to our sense of what is beyond the veil.” Ligotti believes that fiction can put us in touch with that sense of things unseen, that it can create an encounter with—to quote Rudolf Otto again—the mysterium tremendum et fascinans, a state that combines terror and enchantment with the divine. In fact, Ligotti believes that “any so-called serious work of literature that doesn’t to some extent serve this function has failed.” It’s not a matter of genre, he says. He cites Raymond Chandler’s Philip Marlowe as a character who would go wherever the clues took him, no matter how deep into the heart of the “unknown.” “Chandler wanted his detective stories to invoke the sense of the ‘country behind the hill.’ “

Because Ligotti has no interest in whether or not that world beyond actually exists, there is a tension, an unanswered question, in his work: Can we locate the source of this horror? His characters are often confronted by people or groups who worship something so alien that their rituals don’t conform to any identifiable modes of religious practice. Usually, they involve some form of sacrifice or other suggestion of violence. The implication seems to be that, even if there is meaning in the universe, that meaning is so foreign, so strange, that we could never understand it, and it could never make a difference in our lives. Any attempt to penetrate it will only lead to madness.

As a practical matter, Ligotti believes that the short story is the most potent means for conveying this idea. “A novel can’t consistently project what Poe called a ‘single effect,’ “ he explains. “It would be too wearing on the reader—too repetitious and dense, as would, for instance, a lengthy narrative poem written in the style of a lyric poem. A large part of supernatural novels must therefore be concerned with the mundane and not with a sense of what I’ll call ‘the invisible.’ “

Trying to get Ligotti to explain what he means by the “invisible” is not easy. “I’m not able to see my stories as establishing or presuming the existence of a veil beyond which the characters in them are incapable of seeing. I simply don’t view them in this way. ” But his characters, I insisted, suggest that we are all capable of seeing beyond the veil, though it’s impossible to tell if they are simply mad, or if they have indeed perceived something outside normal perception. I asked Ligotti if he saw a difference between these two states of consciousness. “The only interest I’ve taken in psychological aberrancy in fiction,” he answered, “has been as a vehicle of perceiving the derangement of creation.”

Thomas Ligotti: Dark Phenomenology and Abstract Horror
by S.C. Hickman

Ligotti makes a point that horror must stay ill-defined, that the monstrous must menace us from a distance, from the unknown; a non-knowledge, rather than a knowledge of the natural; it is the unnatural and invisible that affects us not something we can reduce to some sociological, psychological, or political formation or representation, which only kills the mystery – taming it and pigeonholing it into some cultural gatekeeper’s caged obituary. […] The domesticated beast is no horror at all.

In the attic of the mind a lunatic family resides, a carnival world of aberrant thoughts and feelings – that, if we did not lock away in a conspiracy of silence would freeze us in such terror and fright that we would become immobilized unable to think, feel, or live accept as zombies, mindlessly. So we isolate these demented creatures, keep them at bay. Then we anchor ourselves in artifice, accept substitutes, religious mythologies, secular philosophies, and anything else that will help us keep the monsters at bay. As Ligotti will say, we need our illusions – our metaphysical anchors and dreamscapes “that inebriate us with a sense of being official, authentic, and safe in our beds” (CHR, 31). Yet, when even these metaphysical ploys want stem the tide of those heinous monsters from within we seek out distraction, entertainment: TV, sports, bars, dancing, friends, fishing, scuba diving, boating, car racing, horse riding… almost anything that will keep our mind empty of its dark secret, that will allow it to escape the burden of emotion – of fear, if even for a night or an afternoon of sheer mindless bliss. And, last, but not least, we seek out culture, sublimation – art, theatre, festivals, carnivals, painting, writing, books… we seek to let it all out, let it enter into that sphere of the tragic or comic, that realm where we can exorcize it, display it, pin it to the wall for all to see our fears and terrors on display not as they are but as we lift them up into art, shape them to our nightmare visions or dreamscapes of desire. As Ligotti tells it, we read literature or watch a painting, go to a theatre, etc. […]

Horror acts like a sigil, a diagram that invokes the powers within the darkness to arise, to unfold their mystery, to explain themselves; and, if not explain then at least to invade our equilibrium, our staid and comfortable world with their rage, their torment, their corruption. The best literary horror or weird tales never describe in detail the mystery, rather they invoke by hyperstitional invention: calling forth the forces out of darkness and the abstract, and allowing them to co-habit for a time the shared space – the vicarious bubble or interzone between the reader and narrative […]

This notion of the tension between the epistemic and ontic in abstract horror returns me to Nick Land’s short work Phyl-Undhu: Abstract Horror, Exterminator in which the narrator tells us that what we fear, what terrorizes us is not the seen – the known and definable, but rather the unseen and unknown, even “shapeless threat, ‘Outside’ only in the abstract sense (encompassing the negative immensity of everything that we cannot grasp). It could be anywhere, from our genes or ecological dynamics, to the hidden laws of technological evolution, or the hostile vastnesses between the stars. We know only that, in strict proportion to the vitality of the cosmos, the probability of its existence advances towards inevitability, and that for us it means supreme ill. Ontological density without identifiable form is abstract horror itself.” […]

Yet, as Lovecraft in one of his famous stories – “Call of Cthulhu” once suggested, the “sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.” Here is the nub for Ligotti, the dividing line of those who continue to sleep in the illusory safety net of their cultural delusions […] Many will remember the Anglo-American poet T. S. Eliot once suggested that “humankind cannot bear too much reality”. […]

For Ligotti the subjective reaction to the seemingly objective stimulus of the uncanny is the gaining of “dark knowledge” about the workings of individuals, […] This sense that the corruption works both ways, upon the victim and the perpetrator; that the world is now topsy-turvy and that the uncanny boundaries between victim and perpetrator are reversible and hazy, and not always obvious is due to that subtle knowledge that each culture is circumscribed within its own black box of conceptuality. By that I mean by that that as Eduardo Viveiros de Castro in his Cannibal Metaphysics argues the case that Amazonian and other Amerindian groups inhabit a radically different conceptual universe than ours—in which nature and culture, human and nonhuman, subject and object are conceived in terms that reverse our own—he presents the case for anthropology as the study of such “other” metaphysical schemes, and as the corresponding critique of the concepts imposed on them by the human sciences. […]

We’re in that position of moving either way: 1) literalizing our fantasies: building walls and barbed-wire fences against invading hordes of refugees, migrants, etc.; or, 2) of seeing through them, seeing the aesthetic and defensive use of art and social mechanisms to defend ourselves from the onslaught of our own daemonic nihilism and drives: our fears and terrors. […]

In our time we’ve forgotten this fact, and forgotten the art laughter, to see the world through the lens of art or horror literature and know that this, too, is illusion: the aesthetic call to our emotions, to our fears and our terrors that allows that purge, that release that only great art can supply. Rather in our time we’ve all become literalists of the imagination, so that apocalypse rather than a pleasant channeling of our fears has become an actual possibility and real manifestation in the world around us in wars, famines, racism, hatred, murder, mayhem… The problem we face is that we’ve targeted the external world of actual people and deemed them disposable as if they are the ravenous zombies and vampires of our contemporary globalist madness. We’ve turned the inside out, reversed what once existed within into a projected nightmare scenario and living hell in the real world not as fantasy but as daemonic threat and doom upon ourselves and others. Talking of contemporary horror films Ligotti remarks that the characters in these films “cannot be sure who is a “thing” and who is not, since those who are transmuted retain their former appearance, memories, and behaviors even after they have become, in their essence, uncanny monstrosities from another world.” (CHR, 92) This sense that we’ve allowed the immigrants (US) and refugees (US and EU) to enter into and become a part of the social body of our nations leads to this sense of the uncanny uncertainty that one cannot be sure who is the “thing” – is it us or them: a paranoiac nightmare world of ravening lunacy, indeed. Because our categories of normal/abnormal have broken down due to the absolute Other of other conceptual cultures who have other sets of Symbolic Orders and ideas, concepts, ideologies, religious, and Laws, etc. we are now in the predicament of mutating and transforming into an Other ourselves all across the globe. There is no safe haven, no place to hide or defend oneself against oneself. In this sense we’ve all – everyone on the planet – become as Ligotti states it, in “essence, uncanny monstrosities from another world”. (CHR, 92)

* * *

Trickster Makes This World
by Lewis Hyde
pp. 168-172

During the years I was writing this book, there was an intense national debate over the concern that government funds might be used to subsidize pornographic art. The particulars will undoubtedly change, but the debate is perennial. On the one side, we have those who presume to speak for the collective trying to preserve the coverings and silences that give social space its order. On the other side, we have the agents of change, time travelers who take the order itself to be mutable, who hope— to give it the most positive formulation— to preserve the sacred by finding ways to shift the structure of things as contingency demands. It is not immediately clear why this latter camp must so regularly turn to bodily and sexual display, but the context I am establishing here suggests that such display is necessary.

To explore why this might be the case, let me begin with the classic image from the Old Testament: Adam and Eve leaving the garden, having learned shame and therefore having covered their genitals and, in the old paintings, holding their hands over their faces as well. By these actions they inscribe their own bodies. The body happens to be a uniquely apt location for the inscription of shame, partly because the body itself seems to be the sense organ of shame (the feeling swamps us, we stutter and flush against our will), but also because the content of shame, what we feel ashamed of, typically seems indelible and fixed, with us as a sort of natural fact, the way the body is with us as a natural fact. “Shame is what you are, guilt is what you do,” goes an old saying. Guilt can be undone with acts of penance, but the feeling of shame sticks around like a birthmark or the smell of cigarettes.

I earlier connected the way we learn about shame to rules about speech and silence, and made the additional claim that those rules have an ordering function. Now, let us say that the rules give order to several things at once, not just to society but to the body and the psyche as well. When I say “several things at once” I mean that the rules imply the congruence of these three realms; the orderliness of one is the orderliness of the others. The organized body is a sign that we are organized psychologically and that we understand and accept the organization of the world around us. When Adam and Eve cover their genitals, they simultaneously begin to structure consciousness and to structure their primordial community. To make the temenos, a line is drawn on the earth and one thing cut from another; when Adam and Eve learn shame, they draw a line on their bodies, dividing them into zones like the zones of silence and speech— or, rather, not “like” those zones, but identified with them, for what one covers on the body one also consigns to silence.

[…] an unalterable fact about the body is linked to a place in the social order, and in both cases, to accept the link is to be caught in a kind of trap.

Before anyone can be snared in this trap, an equation must be made between the body and the world (my skin color is my place as a Hispanic; menstruation is my place as a woman). This substituting of one thing for another is called metonymy in rhetoric, one of the many figures of thought, a trope or verbal turn. The construction of the trap of shame begins with this metonymic trick, a kind of bait and switch in which one’s changeable social place is figured in terms of an unchangeable part of the body. Then by various means the trick is made to blend invisibly into the landscape. To begin with, there are always larger stories going on— about women or race or a snake in a garden. The enchantment of those regularly repeated fables, along with the rules of silence at their edges, and the assertion that they are intuitively true— all these things secure the borders of the narrative and make it difficult to see the contingency of its figures of thought. Once the verbal tricks are invisible, the artifice of the social order becomes invisible as well, and begins to seem natural. As menstruation and skin color and the genitals are natural facts, so the social and psychological orders become natural facts.

In short, to make the trap of shame we inscribe the body as a sign of wider worlds, then erase the artifice of that signification so that the content of shame becomes simply the way things are, as any fool can see.

If this is how the trap is made, then escaping it must involve reversing at least some of these elements. In what might be called the “heavy-bodied” escape, one senses that there’s something to be changed but ends up trying to change the body itself, mutilating it, or even committing suicide […]

These are the beginnings of conscious struggle, but we have yet to meet the mind of the trickster— or if we have, it belongs to the trickster who tries to eat the reflected berries, who burns his own anus in anger, who has not learned to separate the bait from the hook. As we saw earlier, the pressures of experience produce from that somewhat witless character a more sophisticated trickster who can separate bait from hook, who knows that the sign of something is not the thing itself, and who is therefore a better escape artist with a much more playful relationship to the local stories. The heavy-bodied, literalizing attempt to escape from shame carries much of the trap with it— the link to the body, the silence, and so on. Inarticulately, it takes the sign for the thing itself, imagining racism inheres in the color of the skin. Wise to the tricks of language, the light-bodied escape from shame refuses the whole setup— refuses the metonymic shift, the enchantment of group story, and the rules of silence— and by these refusals it detaches the supposedly overlapping levels of inscription from one another so that the body, especially, need no longer stand as the mute, incarnate seal of social and psychological order. All this, but especially the speaking out where shame demands silence, depends largely on a consciousness that doesn’t feel much inhibition, and knows how traps are made, and knows how to subvert them.

This is the insight that comes to all boundary-crossers— immigrants in fact or immigrants in time— that meaning is contingent and identity fluid, even the meaning and identity of one’s own body.

It should by now be easier to see why there will always be art that uncovers the body, and artists who speak shamelessly, even obscenely. All social structures do well to anchor their rules of conduct in the seemingly simple inscription of the body, so that only after I have covered my privates am I allowed to show my face to the world and have a public life. The rules of bodily decorum usually imply that the cosmos depends on the shame we feel about our bodies. But sometimes the lesson is a lie, and a cunningly self-protecting one at that, for to question it requires self-exposure and loss of face, and who would want that? Well, trickster would, as would all those who find they cannot fashion a place for themselves in the world until they have spoken against collective silence. We certainly see this— not just the speaking out but the self-exposure— in Allen Ginsberg, and we see it a bit more subtly in both Kingston and Rodriguez. Neither of them is a “dirty writer” the way Ginsberg is, but to begin to speak, one of them must talk about menstruation (which talk she links to becoming the mistress of her own sexuality) and the other must talk about his skin (which talk he links to possessing his “maleness”).

To the degree that other orders are linked to the way the body is inscribed, and to the degree that the link is sealed by rules of silence, the first stuttering questioning of those orders must always begin by breaking the seal and speaking about the body. Where obscene speech has such roots it is worth defending, and those who would suppress it court a subtle but serious danger. They are like the gods who would bind Loki, for this suppression hobbles the imagination that copes with the shifting and contingent nature of things, and so invites apocalyptic change where something more playful would have sufficed. Better to let trickster steal the shame covers now and then. Better to let Coyote have a ride in the Sun-god’s lodge. Better to let Monkey come on your journey to the West.

* * *

“Disseminated Volition in the New Testament Gospels”
by Andrew Stehlik
The Jaynesian (Vol. 3, Issue 1)

It is well known that many words for inner spiritual motions and emotions are actually metaphors derived from primitive (outward) physiological observations. Brief references to any good dictionary which includes etymology can corroborate this conclusion.

Julian Jaynes in The Origin of Consciousness in the Breakdown of the Bicameral Mind dedicated a whole chapter to this theme — looking forward through the Iliad (pp. 257– 272). He concentrates on seven words: thumos, phrenes, noos, psyche, kradie, ker, and etor.

Julian Jaynes recognized that these and other similar body based, physiological or anatomical metaphors (in almost any language) are actually more than simple linguistic metaphors and that they played an important role in the breakdown of bicameralism and the development of consciousness. Different forms of stress and anxiety trigger different physiological responses. Observations of these responses were used in naming and creating hypostases and metaphors useful in the terminology of introspection and the development of consciousness. […]

In the New Testament Gospels (therefore quite late in the historical process — the second half of the first century CE) I recently recognized an interesting phenomenon which could be part of this process, or, even better, a pathological deviation along this process.

Once in the gospel of Mark (9: 42– 48) and twice in the gospel of Matthew (5: 27– 30 and 18: 6– 10) Jesus is supposed to utter an almost identical saying. In this saying, individual parts of the body (eyes, hands, feet) are given the ability of independent volition. They can inform acting of the whole person. The saying suggests, further, that when the influence (instructions, independent volition) of these body parts is perceived as dangerous or harmful, they should be silenced by cutting them off to protect the integrity of the rest of the body.

All academic theological literature known to me takes these sayings as high literary metaphors. Frequent references are made to biology and medicine and the use of amputations are the last resort in serious conditions.

Completely unrecognized is the whole presumption of this saying according to which individual body parts could possess independent volition and as such can inform (sway/direct) the acting of the whole body. Even more seriously — the presumption that self-mutilation can stop or somehow influence higher mental processes. Even the person who is not a trained psychologist or psychiatrist can recognize that we are dealing with a seriously pathological state of mind. […]

Already at the time of recording in the gospels this saying was perceived as anomalous. Luke, the most educated and refined of synoptical authors, preserved the immediate context, but edited out most of the peculiar parts concerning disseminated volition and self-mutilations.

Further and broader contexts which may be mentioned and discussed: other Greek and Hebrew physiological and anatomical metaphors; the popularity of a metaphor of the body for structuring and functioning of society in Hellenism; the ancient practice of religious self-mutilation; the potential for facilitating our understanding of brutish penal codes or modern self-mutilations.

* * *

The Monstrous, the Impure, & the Imaginal
The Haunted Moral Imagination

Inconsistency of Burkean Conservatism
On Truth and Bullshit
Poised on a Knife Edge
“Why are you thinking about this?”

“In the thorny search for truth…”

Fact-checking has become a big thing. Everyone is talking about fake news these days. But it’s not like it is a new thing.

The earliest newspapers in America were famous for inventing stories and printing slanderous attack pieces. Benjamin Franklin would create various pseudonyms to write under and then offer fake accounts of events and such. Franklin, as First Postmaster General, used his position to disallow his adversaries to mail their newspapers. The Federalists went so far as to get mobs to smash the printing presses used by the Anti-Federalists. The media back then fought dirty in a way we can barely imagine these days.

The modern mainstream media, however, has gotten sneakier in some ways. An example of this is how some people in the media were working directly with the DNC and Clinton campaign, such as sending them articles to edit before publishing. And it doesn’t take long to observe right-wing media to realize they are also working close with Republicans, such as all repeating talking points that were put out by right-wing think tanks. If you really want to get angry about the moral failure of journalism, read about the propaganda model which Noam Chomsky (among others) has written about.

In response, many Americans turn to fact-checking websites. One of these is Snopes. It’s been around for more than a couple of decades, debunking rumors online long before most people knew much about the existence of an internet. But what qualifications does Snopes have? Why should we trust them to tell us who to trust?

It’s not as if Snopes does investigative journalism. The couple that started the website had no education or experience that would be relevant. They simply felt that someone had to do it. The reality is that, beyond motivation to do so, their opinion is worth no more than anyone else’s. They don’t necessarily have access to any info that isn’t available to you. They do have some decent people on their staff, but some of their writers are questionable. Take this bio, for example:

“Dan Evon is a Chicago-based writer and longtime truth enthusiast. His work has appeared somewhere, and he earned a degree at the University of His Choosing. His exploration of Internet truth has been supported by grants from the Facebook Drug Task Force.”

I came across one of his Snopes articles recently: Same Paper, Different Story. The topic of the article is two different front pages and headlines for the Wall Street Journal from the same day. Evon judged to be false the claim that they were printed for two different marketing regions and target audiences. In making this conclusion, he bases his opinion on the statement of one source: “Colleen Schwartz, the Vice President of Communications at The Wall Street Journal, confirmed that these editions were printed at different times, not in different markets.” That is the equivalent of Trump’s Press Secretary denying that Trump has small hands.

The funny thing is that right-wingers predictably claim Snopes has a liberal bias. Any person or organization that is part of the reality-based community, to the right-wing mind, has a liberal bias. It’s hard to see how relying on a WSJ representative as your sole source indicates a liberal bias. Besides, the founder and operator of Snopes was formerly registered as a Republican and now registered as an independent, not exactly a part of a liberal media conspiracy. But we don’t need to speculate about biases, in such cases. The writer, Dan Evon, was just being intellectually lazy because it would have been a lot of work to actually confirm or disconfirm the claims being made.

So, this particular article is completely worthless, even if the explanation is true. The point is that, going by the article itself, you can’t know what is true. There simply is no useful evidence offered. Anyone could look up what was stated by a representative of Wall Street Journal. That is the opposite of helpful info, without the context of info from other sources. The explanation is plausible, which is the most that can be said about it. But Snopes ranks claims according to their truth value, not their plausibility.

That said, Snopes is considered reliable according to other fact-checking websites. It’s important, though, to remember fact-checking organizations are part of the media. They aren’t final arbiters of truth, standing above all biases and errors. Reading a Snopes article doesn’t relieve you of responsibility for determining the truth for yourself, if you seriously consider it important enough to know about. Never rely on a single source, not even a single fact-checker, especially not a single fact-checker relying on a single source.

David Emery, from About.com, has praised Snopes for their quality. But he has also wisely pointed out that,

“In the thorny search for truth, there’s no substitute for doing one’s own research and applying one’s own considered judgment before thinking oneself informed.”

* * *

Snopes Exposed? Snopes Got “Snoped”? Not So Much

Examining the credibility of a popular hoax slayer

No, not Snopes!

Failed Daily Caller ‘Writer’ Throws Temper Tantrum, Exposed as Liar After Being Debunked by snopes.com

Is Snopes.com run by “very Democratic” proprietors? Did they lie to discredit a State Farm insurance agent who attacked Obama?

George Soros owns snopes.com

Bullshit Leads to More Bullshit

In “On Bullshit”, Harry Frankfurt differentiates a bullshitter from a liar. The two aren’t the same. I’ll keep it simple for this post.

A bullshitter can speak the truth just fine, but he just as easily could tell a lie. That is because a bullshitter is indifferent, in being insincere. It goes the other way as well. A liar is indifferent about the issue of sincerity vs insincerity, as someone can be perfectly sincere in their motivations for lying such as seen with authoritarians in their relating to those not part of their in-group.

Here is something about the bullshitter. He can be a perfectly nice and harmless person, such as a friendly grandfather who makes up stories. A master bullshitter could be charming as easily as he could be sociopathic, or he could be both simultaneously. It’s a talent that some people have, whatever purpose they might use it toward.

Applied to politics, I suspect that bullshitters are more common than liars. To get to the top of the political hierarchy requires an indifference to truth. Most presidents and presidential aspirants are bullshitters. Trump is clearly a bullshitter, but so is Clinton (and, no, I’m not arguing that they are equal).

A sincere liar is much more rare. Such a person is likely to be an ideologue and true believer. Cruz seems like a sincere liar, in that being perceived as a ‘good’ Christian seems important to him. He is a man of principle, albeit quite odious principles. The liar has a relationship to the truth, however dysfunctional, whereas the bullshitter can lose all sense of truth and end up believing his own bullshit. The best con man cons himself first. But the sincere liar can be more dangerous still, for he doesn’t need to con himself at all and so can act with clear intention.

Sanders is also a man of principle, but principles I prefer. He is a straight-shooter and even many of his fellow politicians acknowledge this about him, as this direct honesty makes it easy for him to work with individuals in both parties. It’s his concern for truth that can make him seem so quaint, in this age of ruthless corruption and cynical realpolitik. Sanders is truthfully what Trump and Clinton can only insincerely pretend to be.

I don’t think bullshit in general is more common in a democracy, as Frankfurt argues. The world has been ruled by bullshitters since time immemorial. But there is a particular kind of bullshit that is prevalent in a society like ours. It is maybe more dangerous in that the bullshitter impersonates a truth-teller. An example of this is how most of the racially prejudiced in modern America have learned to hide their bigotry behind the language of political correctness. To be fair, some of the most insidious bullshit of the bigoted variety was the dog whistle politics used so effectively by the Clinton New Democrats in their taking over the party and pushing it toward the political right.

American politics makes much more sense once you understand the distinction between a bullshitter and a liar. And if we ever want a functioning democracy, we better become better at maintaining this distinction in all aspects of our society, in particular within government. It is our civic duty as democratic citizens, not to mention our moral responsibility as individuals, to call out bullshit everywhere we see it. This is even more important when bullshit is falsely portrayed as the truth.

Never forget. It was the bullshit pushed by the political establishment, such as the Clintons, that made possible the bullshit of Trump. Bullshit can never be used toward the public good because it will always lead to more bullshit. And once we come to accept bullshit as normal and justified, we lose the capacity to discern what is true. From bullshit, inevitably cynicism and apathy follows. Then all moral high ground is lost.

On Truth and Bullshit

One of the most salient features of our culture is that there is so much bullshit.

This is how Harry Frankfurt begins his essay, “On Bullshit“. He continues:

“Everyone knows this. Each of us contributes his share. But we tend to take the situation for granted. Most people are rather confident of their ability to recognize bullshit and to avoid being taken in by it. So the phenomenon has not aroused much deliberate concern, or attracted much sustained inquiry. In consequence, we have no clear understanding of what bullshit is, why there is so much of it, or what functions it serves. And we lack a conscientiously developed appreciation of what it means to us. In other words, we have no theory.”

So, what is this bullshit? He goes through many definitions of related words. A main point is that it’s “short of lying” and this leads him to insincerity. The bullshitter isn’t a liar for the bullshitter isn’t concerned about either truth or its contrary. No intention to lie is required.

“Someone who lies and someone who tells the truth are playing on the opposite sides, so to speak, in the same game. Each responds to the facts . . . the response of the one is guided by the authority of the truth, while the response of the other defies that authority and refuses to meet its demands. The bullshitter ignores these demands altogether. He does not reject the authority of truth, as the liar does, and oppose himself to it. He pays no attention to it at all.”

Bullshitting is more of a creative act that dances around such concerns of verity:

“For the essence of bullshit is not that it is false but that it is phony. In order to appreciate this distinction, one must recognize that a fake or a phony need not be in any respect (apart from authenticity itself) inferior to the real thing. What is not genuine need not also be defective in some other way. It may be, after all, an exact copy. What is wrong with a counterfeit is not what it is like, but how it was made. This points to a similar and fundamental aspect of the essential nature of bullshit: although it is produced without concern with the truth, it need not be false. The bullshitter is faking things. But this does not mean that he necessarily gets them wrong.”

Bullshit is, first and foremost, insincere. In Frankfurt’s essay, that is some combination of an observation, premise, and conclusion. It is the core issue. But as with bullshit, what is this insincerity? How are we to judge it, from what perspective and according to what standard?

His answer seems to be that bullshit is to sincerity as a lie to the truth. This implies that the bullshitter knows they are insincere in the way the liar knows they are being untruthful. And as the bullshitter doesn’t care about truth, the liar doesn’t care about sincerity. This assumes that the intention of a speaker can be known, both to the presumed bullshitter and to the one perceiving (or accusing) them as a bullshitter. We know bullshit when we hear it, as we know porn when we see it.

After much analysis, the ultimate conclusion is that, “sincerity itself is bullshit.” Bullshit is insincere and sincerity is bullshit. How clever! But there is a genuine point being made. Frankfurt’s ideal is that of truth, not sincerity. Truth and sincerity aren’t polar opposite ideals. They are separate worldviews and attitudes, so the argument goes.

Coming to the end of the essay, I immediately realized what this conflict was. It is an old conflict. It goes back at least to Socrates, although part of larger transcultural changes happening in the post-bicameral Axial Age. Socrates is simply the standard originating point for Western thought, the frame we prefer since Greece represents the earliest known example of a democracy (as a highly organized political system within an advanced civilization).

Socrates, as known through the writings of Plato, is often portrayed as the victim of democracy’s dark populism. The reality, though, is that Plato was severely anti-democratic and associated with those behind the authoritarian forces that sought to destroy Athenian democracy. His fellow Athenians didn’t take kindly to this treasonous threat, whether or not it was just and fair to blame Socrates (we shall never know since we lack the details of the accusation and evidence, as no official court proceedings are extant).

What we know, from Plato, is that Socrates had issues with the Sophists. So, who were these Sophists? It’s a far more interesting question than it first appears. It turns out that the word has a complicated history. It originally referred to poets, the original teachers of wisdom in archaic Greek society. And it should be recalled that the poets were specifically excluded from Plato’s utopian society because, in Plato’s mind, of the danger they posed to rationalistic idealism.

What did the poets and Sophists have in common? They both used language to persuade, through language that was concrete rather than abstract, emotional rather than detached. Plato was interested in big ‘T’ absolute Truth, whereas those employing poetry and rhetoric were interested in small ‘t’ relative truths that were on a human scale. Ancient Greek poets and Sophists weren’t necessarily untruthful but simply indifferent to Platonic ideals of Truth.

This does relate to Frankfurt’s theory of bullshit. Small ‘t’ truths are bullshit or at least easily seen in this light. The main example he uses demonstrates this. A friend of Ludwig Wittgenstein’ was sick and she told him that, “I feel just like a dog that has been run over.” Wittgenstein saw this as careless use of language, not even meaningful enough to be wrong. It was a human truth, instead of a philosophical Truth.

Her statement expressed a physical and emotional experience. One could even argue that Wittgenstein was wrong about a human not being able to know what a hurt dog feels like, as mammals have similar biology and neurology. Besides, as far as we know, this friend had a pet dog run over by a car and was speaking from having a closer relationship to this dog than she had to Wittgenstein. Reading this account, Wittgenstein comes off as someone with severe Asperger’s and indeed plenty of people have speculated elsewhere about this possible diagnosis. Whatever is the case, his response was obtuse and callous.

It is hard to know what the relevance of such an anecdote might have, in reference to clarifying the meaning of bullshit. What it does make clear is that there are different kinds of truths.

This is what separated Socrates and Plato on one side and the poets and Sophists on the other. The Sophists had inherited a tradition of teaching from the poets and it was a tradition that became ever more important in the burgeoning democracy. But it was an era when the power of divine voice still clung to the human word. Persuasion was a power not to be underestimated, as the common person back then hadn’t yet developed the thick-boundaried intellectual defensiveness against rhetoric that we moderns take for granted. Plato sought a Truth that was beyond both petty humans and petty gods, a longing to get beyond all the ‘bullshit’.

Yet it might be noted that some even referred to Socrates and Plato as Sophists. They too used rhetoric to persuade. And of course, the Platonic is the foundation of modern religion (e.g., Neoplatonic Alexandrian Jews who helped shape early Christian theology and Biblical exegesis), the great opponent of the Enlightenment tradition of rationality.

This is why some, instead, prefer to emphasize the divergent strategies of Plato and Aristotle, the latter making its own accusations of bullshit against the former. From the Aristotelian view, Platonism is a belief system proclaiming truth all the while willfully detached from reality. The Platonic concern with Truth, from this perspective, can seem rather meaningless, maybe so meaningless as to not even being false. The Sophists who opposed Socrates and Plato at least were interested in practical knowledge that applied to the real world of human society, dedicated as they were to teaching the skills necessary for a functioning democracy.

As a side note, the closest equivalent to the Sophists today is the liberal arts professor who hopes to instill a broad knowledge in each new generation of students. It’s quite telling that those on the political right are the most likely to make accusations of bullshit against the liberal arts tradition. A traditional university education was founded on philology, the study of languages. And the teaching of rhetoric was standard in education into the early 1900s. Modern Western Civilization was built on the values of the Sophists, the ideal of a well rounded education and the central importance of language, including the ability to speak well and persuasively, the ability to logically defend an argument and rhetorically to make a case. The Sophists saw that to have a democratic public what was needed was an educated public.

Socrates and Plato came from more of what we’d call an aristocratic tradition. They were an enlightened elite, born into wealth, luxury, and privilege. This put them in opposition to the emerging democratic market of ideas. The Sophists were seen as mercenary philosophers who would teach or do anything for money. Socrates didn’t accept money from his students, but then again he was independently wealthy (in that, he didn’t have to work because slaves did the work for him). He wanted pure philosophy, unadulterated by the coarse human realities such as making a living and democratic politics.

It’s not that Socrates and Plato were necessarily wrong. Sophists were a diverse bunch, some using their talents for the public good and others not so much. They were simply the well educated members of the perceived meritocracy who used their expertise in exchange for payment. It seems like a rather normal thing to do in a capitalist society such as ours, but back then a market system was a newfangled notion that seemed radically destabilizing to the social order. Socrates and Plato were basically the reactionaries of their day, nostalgically longing for what they imagined was being lost. Yet they were helping creating an entirely new society, wresting it from the control and authority of tradition. Plato offered a radical utopian vision precisely because he was a reactionary, in terms of how the reactionary is explained by Corey Robin.

Socrates and Plato were challenging the world they were born into. Like all reactionaries, they had no genuine interest in a conservative-minded defense of the status quo. It would take centuries for their influence to grow so large as to become a tradition of its own. Even then, they laid the groundwork for future radicalism during the Renaissance, Protestant Reformation, and Enlightenment Age. Platonic idealism is the seed of modern idealism. What was reactionary in classical Greece fed into a progressive impulse about two millennia later, the anti-democratic leading to the eventual return of democratization. The fight against ‘bullshit’ became the engine of change that overthrew the European ancien régime of Catholicicism, feudalism, aristocracy, and monarchy. Utopian visions such as that of Plato’s Republic became increasingly common.

Thinking along these lines, it brought to mind a recent post of mind, Poised on a Knife Edge. I was once again considering the significance of the ‘great debate’ between Edmund Burke and Thomas Paine. It was Paine who was more of the inheritor of Greek idealism, but unlike some of the early Greek idealists he was very much putting idealism in service of democracy, not some utopian vision above and beyond the messiness of public politics. It occurred to me that, to Paine and his allies, Burke’s attack on the French Revolution was ‘bullshit’. The wardrobe of the moral imagination was deemed rhetorical obfuscation, a refusal of the plain speech and the plain honest truth that was favored by Paine (and by Socrates).

Let me explain why this matters. As I began reading Frankfurt’s “On Bullshit”, I was naturally pulled into the view presented. Pretty much everyone hates bullshit. But I considered a different possible explanation for this. Maybe bullshit isn’t more common than before. Maybe it’s even less common in some sense. It’s just that, as a society that idealizes truth, the category of bullshit represents something no longer respected or understood. We’ve lost touch with something within our own human nature. Our hyper-sensitivity in seeing bullshit everywhere, almost a paranoia, is an indication of this.

As much as I love Paine and his vision, I have to give credit where it is due by acknowledging that Burke managed to catch hold of a different kind of truth, a very human truth. He warned us about treading cautiously on the sacred ground of the moral imagination. On this point, I think he was right. We are too careless.

Frankfurt talks about the ‘bullshit artist’. Bullshitters are always artists. And maybe artists are always bullshitters. This is because the imagination, moral or otherwise, is the playground of the bullshitter. This is because the artist, the master of imagination, is different than a craftsmen. The artist always has a bit of the trickster about him, as he plays at the boundaries of the mind. Here is how Frankfurt explains it:

“Wittgenstein once said that the following bit of verse by Longfellow could serve him as a motto:

“In the elder days of art
Builders wrought with greatest care
Each minute and unseen part,
For the Gods are everywhere.

“The point of these lines is clear. In the old days, craftsmen did not cut corners. They worked carefully, and they took care with every aspect of their work. Every part of the product was considered, and each was designed and made to be exactly as it should be. These craftsmen did not relax their thoughtful self-discipline even with respect to features of their work which would ordinarily not be visible. Although no one would notice if those features were not quite right, the craftsmen would be bothered by their consciences. So nothing was swept under the rug. Or, one might perhaps also say, there was no bullshit.

“It does seem fitting to construe carelessly made, shoddy goods as in some way analogues of bullshit. But in what way? Is the resemblance that bullshit itself is invariably produced in a careless or self-indulgent manner, that it is never finely crafted, that in the making of it there is never the meticulously attentive concern with detail to which Longfellow alludes? Is the bullshitter by his very nature a mindless slob? Is his product necessarily messy or unrefined? The word shit does, to be sure, suggest this. Excrement is not designed or crafted at all; it is merely emitted, or dumped. It may have a more or less coherent shape, or it may not, but it is in any case certainly not wrought.

“The notion of carefully wrought bullshit involves, then, a certain inner strain. Thoughtful attention to detail requires discipline and objectivity. It entails accepting standards and limitations that forbid the indulgence of impulse or whim. It is this selflessness that, in connection with bullshit, strikes us as inapposite. But in fact it is not out of the question at all.”

This is logos vs mythos. In religious terms, it is the One True God who creates ex nihilo vs the demiurgic god of this world. And in Platonic terms, it is the idealistic forms vs concrete substance, where the latter is a pale imitation of the former. As such, truth is unique whereas bullshit is endless. The philosopher and the poet represent opposing forces. To the Philosopher, everything is either philosophically relevant or bullshit. But to the poet (and his kin), this misses the point and overlooks the essence of our humanity. Each side makes sense, according to the perspective of each side. And so each side is correct about what is wrong with the other side.

If all bullshit was eliminated and all further bullshit made impossible, what would be left of our humanity? Maybe our very definition of truth is dependent on bullshit, both as a contrast and an impetus. Without bullshit, we might no longer be able to imagine new truths. But such imagination, if not serving greater understanding, is of uncertain value and potentially dangerous to society. For good or ill, the philosopher, sometimes obtuse and detached, and the artist, sometimes full of bullshit, are the twin representatives of civilization as we know it.

* * *

“I had my tonsils out and was in the Evelyn Nursing Home feeling sorry for myself. Wittgenstein called.”
by Ann Althouse

Short of Lying
by Heinz Brandenburg

Bullshit as the Absence of Truthfulness
by Michael R. Kelly

Democracy is not a truth machine
by Thomas R. Wells

Our ability as individuals to get to true facts merely by considering different arguments is distinctly limited. If we only know of one account of the holocaust – what we were taught in school – we are likely to accept it. But whether it is true or false is a matter of luck rather than our intellectual capacities. Now it is reasonable to suppose that if we were exposed to a diversity of claims about the holocaust then our opinions on the subject would become more clearly our own, and our own responsibility. They would be the product of our own intellectual capacities and character instead of simply reflecting which society we happened to be born into. But so what? Holding sincere opinions about whether the holocaust happened is all very well and Millian, but it has no necessary relation to their truth. As Harry Frankfurt notes in his philosophical essay On Bullshit, sincerity is concerned with being true to oneself, not to the nature of the world: from the perspective of truth seeking, sincerity is bullshit.

Knowing this, we can have no faith that the popularity of certain factual claims among people as ordinary as ourselves is any guide to their truth. Democracy is no more equipped to evaluate facts than rational truths. We can all, of course, hold opinions about the civilisational significance of the holocaust and its status as a justification for the state of Israel, and debate them with others in democratic ways. Yet, when it comes to the facts, neither the sincerity with which individuals believe that ‘the holocaust’ is a myth nor the popularity of such beliefs can make them epistemically respectable. 90% of the population denying the holocaust is irrelevant to its truth status. And vice versa.

Rhetoric and Bullshit
by James Fredal

Frankfurt is also indebted (indirectly) to Plato: Phaedrus is as much about the bullshitter’s (Lysias’s or the non-lover’s) lack of concern for (or “love” for) the truth as is Frankfurt’s brief tome. From the perspective of Plato, Lysias’s speech in praise of the non-lover is just so much bullshit not simply because it is not true, but because Lysias is not concerned with telling the truth so much as he is with gaining the affection and attention of his audience: the beloved boy, the paying student or, more to the point, that lover of speeches, Phaedrus himself.

The non-lover described by Lysias in Phaedrus is best understood as Plato’s allegory for sophists who reject any “natural” truth and who remain committed to contradictory arguments as the practical consequence of their general agnosticism. For Lysias’s non-lover, language is not for telling the truth, because the truth is inaccessible: language is for finding and strengthening positions, for gaining advantage, and for exerting influence over others. Richard Weaver offers a similar reading of Phaedrus that sees the non-lover as representing an attitude toward language use (though for Weaver the non-lover is not a sophist, but a scientist).

Others interested in the bullshitter apply a different, more favorable lens. Daniel Mears, for example, draws on Chandra Mukerji’s study of bullshit among hitchhikers, and more generally on Erving Goffman’s study of self-presentation in the interaction order (for example, “Role Distance” and Interaction Rituals) to highlight bullshit as a form of impression management: what, as Mears notes, Suzanne Eggins and Diana Slade call a “framing device” for the “construction and maintenance of our social identities and social relationships” (qtd. in Mears 279). For Mears, bullshit is the deliberate (albeit playful) creation of possible but ultimately misleading impressions of self or reality, whether for expressive or instrumental reasons (4).

Like Frankfurt, Mears locates the source of bullshit in the speaker herself and her desire to craft a creditable self-image. But whereas Frankfurt sees bullshitting as a species of deception worse than lying (because at least liars have to know the truth if only to lead us away from it, whereas bullshitters have no concern at all for the truth), Mears understands bullshit as a significant social phenomenon that serves several prosocial functions.7 For Mears, we engage in bullshit for purposes of socialization and play, for self-exploration and self-expression, for the resolution of social tensions and cognitive dissonance, and for gaining an advantage in encounters.

Like Mukerji, Mears emphasizes the playful (though often nontrivial and highly consequential) quality of bullshit, much as the ancient sophists composed speeches as “play”: as exercises and exempla, for enjoyment, for display and impression management, and for study separate from the “real world” of politics and law.

Rhetoric Is Not Bullshit
by Davd J. Tietge
from Bullshit and Philosophy
Kindle Locations 3917-4003

The Truth about Postmodernism

One issue that helps obscure the universality of rhetoric, and thus promotes the pejorative use of ‘rhetoric’, is the popular tendency to oversimplify the “truth-lie” dichotomy. In The Liar’s Tale: A History of Falsehood, Jeremy Campbell reminds us that the reductionistic binary that separates truth from falsity is not only in error, but also that the thoroughly unclear and inconsistent distinction between the true and the false has a long, rich cultural history.180 Those doing much of the speaking in our own era, however, assume that the dividing line between truth and untruth is clear and, more significantly, internalized by the average human. Truth, however, is an elusive concept. While we can cite many examples of truths (that the sky is blue today, that the spoon will fall if dropped, and so forth), these depend on definitions of the words used. The sky is blue because ‘blue’ is the word we use to describe the hue that we have collectively agreed is bluish. We may, however, disagree about what shade of blue the sky is. Is it powder blue? Blue-green? Royal Blue? Interpretive responses to external realities that rely on definition (and language generally) always complicate the true-false binary, especially when we begin to discuss the nature of abstractions involved in, say, religion or metaphysics. The truth of ‘God is good’ depends very heavily upon the speaker’s understanding of God and the nature of goodness, both of which depend upon the speaker’s conceptualization, which may be unique to him, his group, or his cultural environment, and thus neither clear nor truthful to other parties.

Is this rampant relativism? Some might think so, but it is perhaps more useful to suggest that the Absolute Truths that we usually embrace are unattainable because of these complexities of language. Some cultures have seen the linguistic limitations of specifying the Truth. Hinduism has long recognized that language is incapable of revealing Truth; to utter the Truth, it holds, is simultaneously to make it no longer the Truth.

Note here the distinction between capital ‘T’ truth and lower-case ‘t’ truth. Lower-case truths are situational, even personal. They often reflect more the state of mind of the agent making the utterance than the immutable nature of the truth. They are also temporally situated; what may be true now may not be in the future. Truth in this sense is predicated on both perception and stability, and, pragmatically speaking, such truths are tran-sitional and, often, relative. Capital ‘T’ Truths can be traced back at least as far as Plato, and are immutable, pure, and incorruptible. They do not exist in our worldly realm, at least so far as Plato was concerned. This is why Plato was so scornful of rhetoric: he felt that rhetoricians (in particular, the Sophists) were opportunists who taught people how to disguise the Truth with language and persuasion. Whereas Plato imagined a realm in which the worldly flaws and corruption of a physical existence were supplanted by perfect forms, the corporeal domain of human activity was saturated with language, and therefore, could not be trusted to reveal Truth with any certainty.

Contemporary, postmodern interest in truth and meaning turns the tables on Plato and studies meaning and truth in this shifting, less certain domain of human activity. Campbell cites many thinkers from our philosophical past who helped inaugurate this development, but none is more important than Friedrich Nietzsche. For Nietzsche, humans have no “organ” for discerning Truth, but we do have a natural instinct for falsehood. “Truth,” as an abstraction taken from the subjectivity of normal human activities, was a manufactured fiction that we are not equipped to actually find. On the other hand, a natural aptitude for falsehood is an important survival mechanism for many species. Human beings have simply cultivated it in innovative, sophisticated, ways. As the rhetorician George A. Kennedy has noted, “in daily life, many human speech acts are not consciously intentional; they are automatic reactions to situations, culturally (rather than genetically) imprinted in the brain or rising from the subconscious.”181 Our propensity for appropriate (if not truthful) responses to situations is something nourished by an instinct to survive, interact, protect, and socialize. Civilization gives us as many new ways to do this as there are situations that require response.

This is why Nietzsche carefully distinguished Truth from a belief system that only professed to contain the Truth. Ken Gemes notes that Nietzsche co-ordinated the question of Truth around the pragmatics of survival,182 an observation echoed by Kennedy, who provides examples of animals that deceive for self-preservation. Camouflage, for example, can be seen in plants and animals. Many birds imitate the calls of rival species to fool them to distraction and away from their nests or food sources. Deception, it seems, is common in nature. But Nietzsche took doctrinal Truth (note the “T”) to be one of the most insidious deceptions to occur in human culture, especially as it is articulated in religions. It is not a basic lie that is being promulgated, but rather a lie masquerading as the Truth and, according to Nietzsche, performing certain functions. Truth, that is, is a ritualized fiction, a condition manufactured for institutions and the individuals who control them to maintain their power.

Rhetoric and Bullshit

Truth, deception, control over others. This survey of rhetoric thus brings us close to the territory that Harry Frankfurt explores in On Bullshit. For Frankfurt, however, bullshit has little to do with these complexities about truth and Truth that rhetoric helps us identify. Indeed bullshit, for Frankfurt, has little do with truth at all, insofar as it requires an indifference to truth. Does this mean, then, that language that is not bullshit has settled the matter of truth and has access to truth (or Truth)? Does this lead us to a dichotomy between truth and bullshit that is similar to the dichotomy between truth and falsity that postmodernism criticizes? It may seem that postmodernism has little place in Frankfurt’s view, insofar as he rejects “various forms of skepticism which deny that we have any reliable access to objective reality, and which therefore reject the possibility of knowing how things truly are” (p. 64). Indeed, postmodernism is often vilified as the poster child of relativism and skepticism.

Yet postmodernism is far subtler than a mere denial of “objective reality.” Postmodernism claims, rather, that reality is as much a construct of language as it is objective and unchanging. Postmodernism is less about rejecting beliefs about objective reality than about the intersection between material reality and the human interpretations of it that change, mutate, and shift that reality to our own purposes—the kind of small-t truths that Nietzsche addressed. The common complaint about post-modernism, for example, that it denies “natural laws,” forgets that humans noticed and formulated those laws. Postmodernism attempts to supply a vocabulary to describe this kind of process. It is not just “jargon,” as is so often charged; it is an effort to construct a metalinguistic lexicon for dealing with some very difficult and important epistemological questions.

And, not surprisingly, so is rhetoric. Constructing language that deals with the nature of language is a unique human problem. It is meta-cognition at its most complicated because it requires us to use the same apparatus to decode human texts that is contained in the texts themselves—that is, using words to talk about words, what Kenneth Burke referred to in The Rhetoric of Religion as “logology.”183 In no other area of human thinking is this really the case. Most forms of intellectual exploration involve an extraneous phenomenon, event, agent, or object that requires us to bring language to bear upon it in order to observe, describe, classify, and draw conclusions about its nature, its behavior, or its effect. For example, scientific inquiry usually involves an event or a process in the material world that is separate from the instruments we use to describe it. Historical analysis deals with texts as a matter of disciplinary course, yet most historians rarely question the efficacy or the reliability of the language used to convey an event of the remote (or, for that matter, recent) past. Even linguistics, which uses a scientific model to describe language structure, deals little with meaning or textual analysis.

Law is one of the closest cousins of rhetoric. Words are very much a part of the ebb and flow of legal wrangling, and the attention given to meaning and interpretation is central. Yet, even here, there is little theoretical discussion about how words have meaning or how, based on such theory, that meaning can be variously interpreted. Law is more concerned with the fact that words can be interpreted differently and how different agents might interpret language in different ways. This is why legal documents are often so unreadable; in an attempt to control ambiguity, more words (and more words with specific, technical meanings) must be used so that multiple interpretations can be avoided. If theoretical discussions about how language generates meaning were entered into the equation, the law would be impossible to apply in any practical way. Yet, to understand legal intricacies, every law student should be exposed to rhetoric—not so they can better learn how to manipulate a jury or falsify an important document, but so they understand how tenuous and limited language actually is for dealing with ordinary situations. Moreover, nearly every disciplinary area of inquiry uses language, but only rhetoric (and its associated disciplines, especially philosophy of language and literary /cultural criticism, which have influenced the development of modern rhetoric considerably) analyzes language using a hermeneutical instrument designed to penetrate the words to examine their effects—desired or not—on the people who use them.

What, then, qualifies as “bullshit”? Certainly, as I hope I have shown, rhetoric and bullshit are hardly the same thing. They are not even distant cousins. When a student begins a paper with the sentence, “In today’s society, there are many things that people have different and similar opinions about,” it’s a pretty good guess that there is little of rhetorical value there. About the only conclusion a reader can draw is that the student is neither inspired nor able to hide this fact. This is the extent of the subtext, and it could conceivably qualify as bullshit. In this sense, Frankfurt’s characterization of bullshit as “unavoidable whenever circumstances require someone to talk without knowing what he is talking about” (p. 63) is a useful differentiation.

But aside from these rather artificial instances, if bullshit does occur at the rate Frankfurt suggests, we have an arduous task in separating the bullshit from more interesting and worthy rhetorical situations. We have all met people whom we know, almost from the moment of acquaintance, are full of bullshit. It is the salesman syndrome that some people just (naturally, it seems) possess. In one sense, then, poor rhetoric—a rhetoric of transparency or obviousness—can be construed as bullshit. For the person with salesman syndrome is certainly attempting to achieve identification with his audience; he may even be attempting to persuade others that he is upright or trustworthy. But he fails because his bullshit is apparent. He is a bad rhetorician in the sense that he fails to convince others that he should be taken seriously, that his words are worthy of attention and, possibly, action.

Bullshit is something we can all recognize. Rhetoric is not. My remedy for this situation is simple: learn rhetoric.

 

The Sociology of Intellectual Life
by Steve Fuller
pp. 147-8

Harry Frankfurt’s (2005) On Bullshit is the latest contribution to a long, distinguished, yet deeply problematic line of Western thought that has attempted to redeem the idea of intellectual integrity from the cynic’s suspicion that it is nothing but high-minded, self-serving prejudice. I say ‘problematic’ because while Plato’s unflattering portrayal of poets and sophists arguably marked the opening salvo in the philosophical war against bullshit, Plato availed himself of bullshit in promoting the ‘myth of the metals’ as a principle of social stratification in his Republic. This doublethink has not been lost on the neo-conservative followers of the great twentieth century Platonist Leo Strauss. […]

The bullshit detector aims to convert an epistemic attitude into a moral virtue: reality can be known only by the right sort of person. This idea, while meeting with widespread approval by philosophers strongly tied to the classical tradition of Plato and Aristotle, is not lacking in dissenters. The line of dissent is best seen in the history of ‘rhetoric’, a word Plato coined to demonize Socrates’ dialectical opponents, the sophists. The sophists were prepared to teach anyone the art of winning arguments, provided you could pay the going rate. As a series of sophistic interlocutors tried to make clear to Socrates, possession of the skills required to secure the belief of your audience is the only knowledge you really need to have. Socrates famously attacked this claim on several fronts, which the subsequent history of philosophy has often conflated. In particular, Socrates’ doubts about the reliability of the sophists’ techniques have been run together with a more fundamental criticism: even granting the sophists their skills, they are based on a knowledge of human gullibility, not of reality itself.

Bullshit is sophistry under this charitable reading, which acknowledges that the truth may not be strong enough by itself to counteract an artfully presented claim that is not so much outright false as, in the British idiom, ‘economical with the truth’. In stressing the difference between bullshit and lies, Frankfurt clearly has this conception in mind, though he does sophistry a disservice by casting the bullshitter’s attitude toward the truth as ‘indifference’. On the contrary, the accomplished bullshitter must be a keen student of what people tend to regard as true, if only to cater to those tendencies so as to serve her own ends. What likely offends Frankfurt and other philosophers here is the idea that the truth is just one more tool to be manipulated for personal advantage. Conceptual frameworks are simply entertained and then discarded as their utility passes. The nature of the offence, I suspect, is the divine eye-view implicated in such an attitude – the very idea that one could treat in a detached fashion the terms in which people normally negotiate their relationship to reality. A bullshitter revealed becomes a god unmade.

pp. 152-3

The bullshit detector believes not only that there is a truth but also that her own access to it is sufficiently reliable and general to serve as a standard by which others may be held accountable. Protestants appeared prepared to accept the former but not the latter condition, which is why dissenters were encouraged – or perhaps ostracized – to establish their own ministries. The sophists appeared to deny the former and possibly the latter condition as well. Both Protestants and sophists are prime candidates for the spread of bullshit because they concede that we may normally address reality in terms it does not recognize – or at least do not require it to yield straight ‘yes-or-no’, ‘true-or-false’ answers. In that case, we must make up the difference between the obliqueness of our inquiries and the obtuseness of reality’s responses. That ‘difference’ is fairly seen as bullshit. When crystallized as a philosophy of mind or philosophy of language, this attitude is known as antirealism. Its opposite number, the background philosophy of bullshit detectors, is realism.

The difference in the spirit of the two philosophies is captured as follows: do you believe that everything you say and hear is bullshit unless you have some way of showing whether it is true or false; or rather, that everything said and heard is simply true or false, unless it is revealed to be bullshit? The former is the antirealist, the latter the realist response. Seen in those terms, we might say that the antirealist regards reality as inherently risky and always under construction (Caveat credor: ‘Let the believer beware!’) whereas the realist treats reality as, on the whole, stable and orderly – except for the reprobates who try to circumvent the system by producing bullshit. In this respect, On Bullshit may be usefully read as an ad hominem attack on antirealists. Frankfurt himself makes passing reference to this interpretation near the end of the essay (Frankfurt 2005: 64–65). Yet, he appears happy to promote the vulgar image of antirealism as intellectually, and perhaps morally, slipshod, instead of treating it as the philosophically honorable position that it is.

A case in point is Frankfurt’s presentation of Wittgenstein as one of history’s great bullshit detectors (Frankfurt 2005: 24–34). He offers a telling anecdote in which the Viennese philosopher objects to Fania Pascal’s self description as having been ‘sick as a dog’. Wittgenstein reportedly told Pascal that she misused language by capitalizing on the hearer’s easy conflation of a literal falsehood with a genuine condition, which is made possible by the hearer’s default anthropocentric bias. Wittgenstein’s objection boils down to claiming that, outside clearly marked poetic contexts, our intellectual end never suffices alone to justify our linguistic means. Frankfurt treats this point as a timeless truth about how language structures reality. Yet, it would be quite easy, especially recalling that this ‘truth’ was uttered seventy years ago, to conclude that Wittgenstein’s irritation betrays a spectacular lack of imagination in the guise of scrupulousness.

Wittgenstein’s harsh judgement presupposes that humans lack any real access to canine psychology, which renders any appeal to dogs purely fanciful. For him, this lack of access is an established fact inscribed in a literal use of language, not an open question answers to which a figurative use of language might offer clues for further investigation. Nevertheless, scientists informed by the Neo-Darwinian synthesis – which was being forged just at the time of Wittgenstein’s pronouncement – have quite arguably narrowed the gap between the mental lives of humans and animals in research associated with ‘evolutionary psychology’. As this research makes more headway, what Wittgenstein confidently declared to be bullshit in his day may tomorrow appear as having been a prescient truth. But anyone holding such a fluid view of verifiability would derive scant comfort from either Wittgenstein or Frankfurt, who act as if English linguistic intuitions, circa 1935, should count indefinitely as demonstrable truths.

Some philosophers given to bullshit detection are so used to treating any Wittgensteinian utterance as a profundity that it never occurs to them that Wittgenstein may have been himself a grandmaster of bullshit. The great bullshit detectors whom I originally invoked, Nietzsche and Mencken, made themselves vulnerable to critics by speaking from their own self-authorizing standpoint, which supposedly afforded a clear vista for distinguishing bullshit from its opposite. Wittgenstein adopts the classic bullshitter’s technique of ventriloquism, speaking through the authority of someone or something else in order to be spared the full brunt of criticism.

I use ‘adopts’ advisedly, since the deliberateness of Wittgenstein’s rhetoric remains unclear. What was he trying to do: to speak modestly without ever having quite controlled his spontaneously haughty manner, or to exercise his self-regarding superiority as gently as possible so as not to frighten the benighted? Either way, Wittgenstein became – for a certain kind of philosopher – the standard-bearer of linguistic rectitude, where ‘language’ is treated as a proxy for reality itself. Of course, to the bullshitter, this description also fits someone whose strong personality cowed the impressionable into distrusting their own thought processes. As with most successful bullshit, the trick is revealed only after it has had the desired effect and the frame of reference has changed. Thus, Wittgenstein’s precious concern about Pascal’s account of her state of health should strike, at least some readers today, as akin to a priest’s fretting over a parishioner’s confession of impure thoughts. In each case, the latter is struck by something that lies outside the box in which the former continues to think.

If Wittgenstein was a bullshitter, how did he manage to take in professed enemies of bullshit like Frankfurt? One clue is that most bullshit is forward looking, and Wittgenstein’s wasn’t. The bullshitter normally refers to things whose prima facie plausibility immunizes the hearer against checking their actual validity. The implication is that the proof is simply ‘out there’ waiting be found. But is there really such proof? Here the bullshitter is in a race against time. A sufficient delay in checking sources has salvaged the competence and even promoted the prescience of many bullshitters. Such was the spirit of Paul Feyerabend’s (1975) notorious account of Galileo’s ‘discoveries’, which concluded that his Papal Inquisitors were originally justified in their scepticism, even though Galileo’s followers subsequently redeemed his epistemic promissory notes.

In contrast, Wittgenstein’s unique brand of bullshit was backward-looking, always reminding hearers and readers of something they should already know but had perhaps temporarily forgotten. Since Wittgenstein usually confronted his interlocutors with mundane examples, it was relatively easy to convey this impression. The trick lay in immediately shifting the context from the case at hand to what Oxford philosophers in the 1950s called a ‘paradigm case’ that was presented as a self-evident standard of usage against which to judge the case at hand. That Wittgenstein, a non-native speaker of English, impressed one or two generations of Britain’s philosophical elite with just this mode of argumentation remains the envy of the aspiring bullshitter. Ernest Gellner (1959), another émigré from the old Austro Hungarian Empire, ended up ostracized from the British philosophical establishment for offering a cutting diagnosis of this phenomenon as it was unfolding. He suggested that Wittgenstein’s success testified to his ability to feed off British class anxiety, which was most clearly marked in language use. An academically sublimated form of such language-driven class anxiety remains in the discipline of sociolinguistics (Bernstein 1971–77).

Yet, after nearly a half-century, Gellner’s diagnosis is resisted, despite the palpable weakening of Wittgenstein’s posthumous grip on the philosophical imagination. One reason is that so many living philosophers still ride on Wittgenstein’s authority – if not his mannerisms – that to declare him a bullshitter would amount to career suicide. But a second reason is also operative, one that functions as an insurance policy against future debunkers. Wittgenstein is often portrayed, by himself and others, as mentally unbalanced. You might think that this would render his philosophical deliverances unreliable. On the contrary, Wittgenstein’s erratic disposition is offered as evidence for his spontaneously guileless nature – quite unlike the controlled and calculated character of bullshitters. Bullshit fails to stick to Wittgenstein because he is regarded as an idiot savant.