Thursday, 18 June 2020

Andrew Doyle - The Dangers Of Having An Honest Opinion

Andrew Doyle - The Dangers Of Having An Honest Opinion

“It is the same with all thinking and all systems of thought. If you try to find out which are tainted by speculating about the wishes of the thinkers, you are merely making a fool of yourself. You must find out on purely logical grounds which of them do, in fact, break down as arguments. Afterwards, if you like, go on and discover the psychological causes of the error. In other words, you must show that a man is wrong before you start explaining why he is wrong. The modern method is to assume without discussion that he is wrong and then distract his attention from this (the only real issue) by busily explaining how he became so silly. In the course of the last fifteen years I have found this vice so common that I have had to invent a name for it. I call it Bulverism. Some day I am going to write the biography of its imaginary inventor, Ezekiel Bulver, whose destiny was determined at the age of five when he heard his mother say to his father – who had been maintaining that two sides of a triangle were together greater than the third – ‘Oh, you say that because you are a man’.

Wednesday, 17 June 2020

Consider The Lobster






“There are LIMITS to what even interested persons can ASK of each other. "

- David Foster Wallace, 
Consider The Lobster,
2004







“There are LIMITS to what even interested persons can ASK of each other. "

- David Foster Wallace, 
Consider The Lobster,
2004




Following is my own personal interpretation of the symbolism within the moon tarot. I'm not prevy to or necessarily even interested in the tarot, however the symbolism is interesting and relevant here.

Under the shade of the moon (chaos compared to light under the sun) the lobster (representation of the character that moves up and down hierarchies) is walking up the path from the water (origins of chaos) into the distance where there are mountains (a higher elevation for the lobster). On either side of the path stands both a dog and a wolf. One being the representation of the infantilised, trained and domesticated, the other being the wild, untamed and dangerous being. Both are highly undesirable and both will eat the lobster if it strays off the path. This narrative is represented in the shade of the moon because in darkness that it is easy to stray off the path, but it is also in darkness when lobsters are active, which may be another way of representing the concept of the character that is refined and found in the hardest of times.

Along side both the dog and the wolf in the back ground are two towers in the mid ground. Two towers within symbology is incredible deep and complicated. There are many connotations and interpretations but then all generally follow a similar role of ushering in the kingdom of god, typically on their destruction. I'm taking this to mean that at the end of the moon cycle, or on the rising of the Sun a new kingdom is ushered in. When rising out of the state of darkness as being, you usher in a new stage of being. Hopefully this makes sense and is interesting”





" There happen to be two main criteria that most ethicists agree on for determining whether a living creature has the capacity to suffer and so has genuine interests that it may or may not be our moral duty to consider. 

One is how much of the neurological hardware required for pain-experience the animal comes equipped with—nociceptors, prostaglandins, neuronal opioid receptors, etc. The other criterion is whether the animal demonstrates behavior associated with pain. And it takes a lot of intellectual gymnastics and behaviorist hairsplitting not to see struggling, thrashing, and lid-clattering as just such pain-behavior. According to marine zoologists, it usually takes lobsters between 35 and 45 seconds to die in boiling water. (No source I could find talks about how long it takes them to die in superheated steam; one rather hopes it’s faster.) 

There are, of course, other ways to kill your lobster on-site and so achieve maximum freshness. Some cooks’ practice is to drive a sharp heavy knife point-first into a spot just above the midpoint between the lobster’s eyestalks (more or less where the Third Eye is in human foreheads). 

This is alleged either to kill the lobster instantly or to render it insensate, and is said at least to eliminate some of the cowardice involved in throwing a creature into boiling water and then fleeing the room. 

As far as I can tell from talking to proponents of the knife-in-head method, the idea is that it’s more violent but ultimately more merciful, plus that a willingness to exert personal agency and accept responsibility for stabbing the lobster’s head honors the lobster somehow and entitles one to eat it (there’s often a vague sort of Native American spirituality-of-the-hunt flavor to pro-knife arguments). 

But the problem with the knife method is basic biology: Lobsters’ nervous systems operate off not one but several ganglia, a.k.a. nerve bundles, which are sort of wired in series and distributed all along the lobster’s underside, from stem to stern. And disabling only the frontal ganglion does not normally result in quick death or unconsciousness. 

Another alternative is to put the lobster in cold saltwater and then very slowly bring it up to a full boil. Cooks who advocate this method are going on the analogy to a frog, which can supposedly be kept from jumping out of a boiling pot by heating the water incrementally. In order to save a lot of research-summarizing, I’ll simply assure you that the analogy between frogs and lobsters turns out not to hold — plus, if the kettle’s water isn’t aerated seawater, the immersed lobster suffers from slow suffocation, although usually not decisive enough suffocation to keep it from still thrashing and clattering when the water gets hot enough to kill it. 

In fact, lobsters boiled incrementally often display a whole bonus set of gruesome, convulsionlike reactions that you don’t see in regular boiling. 

Ultimately, the only certain virtues of the home-lobotomy and slow-heating methods are comparative, because there are even worse/ crueler ways people prepare lobster. 

Time-thrifty cooks sometimes microwave them alive (usually after poking several vent-holes in the carapace, which is a precaution most shellfish-microwavers learn about the hard way). 

Live dismemberment, on the other hand, is big in Europe—some chefs cut the lobster in half before cooking; others like to tear off the claws and tail and toss only these parts into the pot. 

And there’s more unhappy news respecting suffering-criterion number one. 

Lobsters don’t have much in the way of eyesight or hearing, but they do have an exquisite tactile sense, one facilitated by hundreds of thousands of tiny hairs that protrude through their carapace. “Thus it is,” in the words of T. M. Prudden’s industry classic About Lobster, “that although encased in what seems a solid, impenetrable armor, the lobster can receive stimuli and impressions from without as readily as if it possessed a soft and delicate skin.” 

And lobsters do have nociceptors, as well as invertebrate versions of the prostaglandins and major neurotransmitters via which our own brains register pain. Lobsters do not, on the other hand, appear to have the equipment for making or absorbing natural opioids like endorphins and enkephalins, which are what more advanced nervous systems use to try to handle intense pain. 

From this fact, though, one could conclude either that lobsters are maybe even more vulnerable to pain, since they lack mammalian nervous systems’ built-in analgesia, or, instead, that the absence of natural opioids implies an absence of the really intense pain-sensations that natural opioids are designed to mitigate. 

I for one can detect a marked upswing in mood as I contemplate this latter possibility. It could be that their lack of endorphin/ enkephalin hardware means that lobsters’ raw subjective experience of pain is so radically different from mammals’ that it may not even deserve the term “pain.” 




Perhaps lobsters are more like those frontal-lobotomy patients one reads about who report experiencing pain in a totally different way than you and I. These patients evidently do feel physical pain, neurologically speaking, but don’t dislike it—though neither do they like it; it’s more that they feel it but don’t feel anything about it—the point being that the pain is not distressing to them or something they want to get away from. 

Maybe lobsters, who are also without frontal lobes, are detached from the neurological-registration-of-injury-or-hazard we call pain in just the same way. There is, after all, a difference between (1) pain as a purely neurological event, and (2) actual suffering, which seems crucially to involve an emotional component, an awareness of pain as unpleasant, as something to fear/ dislike/ want to avoid. Still, after all the abstract intellection, there remain the facts of the frantically clanking lid, the pathetic clinging to the edge of the pot. 

Standing at the stove, it is hard to deny in any meaningful way that this is a living creature experiencing pain and wishing to avoid/ escape the painful experience. To my lay mind, the lobster’s behavior in the kettle appears to be the expression of a preference; and it may well be that an ability to form preferences is the decisive criterion for real suffering.

The logic of this (preference [[ Right arrow]] suffering) relation may be easiest to see in the negative case. If you cut certain kinds of worms in half, the halves will often keep crawling around and going about their vermiform business as if nothing had happened. When we assert, based on their post-op behavior, that these worms appear not to be suffering, what we’re really saying is that there’s no sign the worms know anything bad has happened or would prefer not to have gotten cut in half. Lobsters, though, are known to exhibit preferences. Experiments have shown that they can detect changes of only a degree or two in water temperature; one reason for their complex migratory cycles (which can often cover 100-plus miles a year) is to pursue the temperatures they like best. 20 And, as mentioned, they’re bottom-dwellers and do not like bright light—if a tank of food-lobsters is out in the sunlight or a store’s fluorescence, the lobsters will always congregate in whatever part is darkest. Fairly solitary in the ocean, they also clearly dislike the crowding that’s part of their captivity in tanks, since (as also mentioned) one reason why lobsters’ claws are banded on capture is to keep them from attacking one another under the stress of close-quarter storage. 

In any event, at the MLF, standing by the bubbling tanks outside the World’s Largest Lobster Cooker, watching the fresh-caught lobsters pile over one another, wave their hobbled claws impotently, huddle in the rear corners, or scrabble frantically back from the glass as you approach, it is difficult not to sense that they’re unhappy, or frightened, even if it’s some rudimentary version of these feelings … and, again, why does rudimentariness even enter into it? 

Why is a primitive, inarticulate form of suffering less urgent or uncomfortable for the person who’s helping to inflict it by paying for the food it results in? 

I’m not trying to give you a PETA-like screed here—at least I don’t think so. 

I’m trying, rather, to work out and articulate some of the troubling questions that arise amid all the laughter and saltation and community pride of the Maine Lobster Festival. The truth is that if you, the festival attendee, permit yourself to think that lobsters can suffer and would rather not, the MLF begins to take on the aspect of something like a Roman circus or medieval torture-fest. 

Does that comparison seem a bit much? If so, exactly why? Or what about this one: Is it possible that future generations will regard our present agribusiness and eating practices in much the same way we now view Nero’s entertainments or Mengele’s experiments? 

My own initial reaction is that such a comparison is hysterical, extreme—and yet the reason it seems extreme to me appears to be that I believe animals are less morally important than human beings; and when it comes to defending such a belief, even to myself, I have to acknowledge that (a) I have an obvious selfish interest in this belief, since I like to eat certain kinds of animals and want to be able to keep doing it, and (b) I haven’t succeeded in working out any sort of personal ethical system in which the belief is truly defensible instead of just selfishly convenient. 

Given this article’s venue and my own lack of culinary sophistication, I’m curious about whether the reader can identify with any of these reactions and acknowledgments and discomforts. I’m also concerned not to come off as shrill or preachy when what I really am is more like confused. 

For those Gourmet readers who enjoy well-prepared and -presented meals involving beef, veal, lamb, pork, chicken, lobster, etc.: Do you think much about the (possible) moral status and (probable) suffering of the animals involved? If you do, what ethical convictions have you worked out that permit you not just to eat but to savor and enjoy flesh-based viands (since of course refined enjoyment, rather than mere ingestion, is the whole point of gastronomy)? 

If, on the other hand, you’ll have no truck with confusions or convictions and regard stuff like the previous paragraph as just so much fatuous navel-gazing, what makes it feel truly okay, inside, to just dismiss the whole thing out of hand? 

That is, is your refusal to think about any of this the product of actual thought, or is it just that you don’t want to think about it? And if the latter, then why not? 

Do you ever think, even idly, about the possible reasons for your reluctance to think about it? I am not trying to bait anyone here—I’m genuinely curious. 

After all, isn’t being extra aware and attentive and thoughtful about one’s food and its overall context part of what distinguishes a real gourmet? 
Or is all the gourmet’s extra attention and sensibility just supposed to be sensuous? Is it really all just a matter of taste and presentation? 

These last few queries, though, while sincere, obviously involve much larger and more abstract questions about the connections (if any) between aesthetics and morality — about what the adjective in a phrase like “The Magazine of Good Living” is really supposed to mean — and these questions lead straightaway into such deep and treacherous waters that it’s probably best to stop the public discussion right here. 

There are limits to what even interested persons can ask of each other. "


2004

WITCHY





Sgt. Yates
So you were there when the witch showed up and took your girlfriend.

Cartman
Yes, it just came out of nowhere. I tried to save Heidi, but it was too late.

Sgt. Yates
What was your girlfriend wearing?

Cartman
She was dressed kind of like me, but had a simple Munich dirndl from Germany.

Rick
And you didn't stop at all to think that what you were doing might attract a witch?

Cartman
Excuse me?! Are you actually trying to blame the victim here?!

Rick
No, I'm just saying that if there's a big fat witch around, maybe you shouldn't walk around in the woods dressed as Hansel and Gretel.

Cartman
Ohhhhh!

Sgt. Yates
Whoa, whoa, not cool, Rick. Not cool.

Cartman
I will have your badge, sir!

Sgt. Yates
[looks towards the camera
Sorry folks, sorry.

One Day You're Gonna Wake-up and Realise That You Don't Have Anyone Either


Well, as I understand it, there’s a type of person who just can’t deal with a fight-or-die situation. 

They’re always drawn to what they’re afraid of.

Instead of resisting it, they want to please it, join it, try to be like it. 

I guess that happens in kidnap situations, you know, like a Patty Hearst/ Stockholm Syndrome–type, or, like in regular war, when people who are invaded sign up for the enemy’s army. 

Collaborators, sometimes even more die-hard than the people they’re trying to mimic, like those French fascists who were some of Hitler’s last troops. 

Maybe that’s why we call them quislings, like it’s a French word or something.

But you couldn’t do it in this war. You couldn’t just throw up your hands and say, 
“Hey, don’t kill me, I’m on your side.” 

There was no gray area in this fight, no in between. 

I guess some people just couldn’t accept that. It put them right over the edge. 

They started moving like zombies, sounding like them, even attacking and trying to eat other people. 



Dick
I miss my friend.

Gerald
Oh you got to be--
Are you joking?!

Dick
I don't know how things got derailed but, I-I'm sorry if I made you upset. 
I want to be buddies again.

Gerald
Buddies like when? 
When were we buddies?

Dick
Come on, let's just have a couple of beers and do some trolling.

Gerald
I don't have time for you! I'm sorry, dude, but I have a life
I have a wife, and kids, [raises his arms] and shit to do!

Dick
Why are you mad at me'?

Gerald
Because you won't go away and let me just have fun!

Dick
I refuse to believe that Skankhunt is that shallow.

Gerald
[turns to his side
Oh here we go!

Dick
When you Photoshopped penises in Kesha survivors' mouths, it's not just to make people laugh.

Gerald
[faces Dick] 
Yes it is!

Dick
If someone Photoshopped a dick in your wife's mouth, would you just think it was funny?

Gerald
You mean my [shows his phone to Dick with image of Sheila Photoshopped] fucking screensaver..??

Dick
It's True. You're just an asshole
I thought you were the ultimate rebel. 
I actually looked up to you and you're nothing but a super... dick.

Gerald
And what are [points at Dick] you, Dildo Shwaggins? Huh? 

You think you're a fucking political activist hauled up in your shitty little midget condo. 
You're nothing but a pissed off little giant, lashing out at everyone because you can't get laid!

Dick
At least I have a reason to be angry. 
What do you have, that it's funny? 
Hurting people is just worth the laughs?

Gerald
Stop trolling me.

Dick
One day you're gonna wake up and realise that you don't have anyone either.

Gerald
Stop fucking trolling me. 
[shuts the front door]



Monday, 15 June 2020

Racing Downhill


“Science progresses because scientists, instead of running away from such troublesome phenomena or hushing them up, are constantly seeking them out. 

In the same way, there will be progress in Christian knowledge only as long as we accept the challenge of the difficult or repellent doctrines. 

A ‘liberal’ Christianity which considers itself free to alter the Faith whenever the Faith looks perplexing or repellent must be completely stagnant.

Progress is made only into a resisting material.”

— C.S. Lewis,
Christian Apologetics



An attribute of the penny-farthing is that the rider sits high and nearly over the front axle. 

When the wheel strikes rocks and ruts, or under hard braking, the rider can be pitched forward off the bicycle head-first. 

Headers were relatively common and a significant, sometimes fatal, hazard. 

Riders coasting down hills often took their feet off the pedals and put them over the tops of the handlebars, so they would be pitched off feet-first instead of head-first.

Although easy to ride slowly because of their high center of mass and the inverted pendulum effect, penny-farthings are prone to accidents. 

To stop, the rider presses back on the pedals while applying a spoon-shaped brake pressing the tire. 

The center of mass being high and not far behind the front wheel means any sudden stop or collision with a pothole or other obstruction can send the rider over the handlebars.

On long downhills, some riders hooked their feet over the handlebars. 

This made for quick descents but left 
no chance of stopping. 

A new type of handlebar was introduced, called Whatton bars, that looped behind the legs so that riders could still keep their feet on the pedals and also be able to leap forward feet-first off the machine.


David Foster Wallace on Commercial Literature and Reading


McGoohan: 
I think we're progressing too fast.
I think that we should pull back and consolidate the things that we've discovered.


Fifth Boy: 
Mr. McGoohan, when you began "The Prisoner," you began it in a decade in which a lot of people were used to secret agents. 

You very neatly saw the next decade coming. 


I thing you saw Watergate; The Enemy Within as opposed to The Enemy Without. 

I don't know if you can answer this, but if you were going to do the series again and you had to look aged to the 80's and you were thinking in terms of what you see as being the real enemy, not the storybook enemy but the enemy that's really going to hassle us. 

If you were going to look into the 80's now, what would you look to?

McGoohan: 
I think progress is The Biggest Enemy on Earth, 
apart from oneself
and that goes with oneself, 
a two-handed pair with oneself and progress

I think we're gonna take good care of this planet shortly. 

They're making bigger and better bombs, faster planes, and all this stuff one day, I hate to say it, there's never been a weapon created yet on the face of the Earth that hadn't been used and that thing is gonna be used unless...

I don't know how we're gonna stop it, not -- it's too late, I think.

Fifth Boy: 
Do you think maybe there's going to be a strong popular reaction against "Progress" in the future?

McGoohan: 
No -- because we're run by the Pentagon, we're run by Madison Avenue, we're run by television, and as long as we accept those things and don't revolt we'll have to go along with the stream to the eventual avalanche.

Sixth Boy: 
We tend to view the threat, the Village there, as sort of a thing as something external like Madison Avenue, the media. 
How responsible are we for accepting this? 
Where do we become involved in being "unfree"?

McGoohan: 
Buying the product, to excess. 
As long as we go out and buy stuff, we're at their mercy. 
We're at the mercy of the advertiser and of course there are certain things that we need, but a lot of the stuff that is bought is not needed.

Sixth Boy: 
Did you regard the Village as an external thing or as something that we carry around with us all the time?

McGoohan: 
It was meant to be both. 
The external was the symbol, 
but it's within us all I think, don't you? 

This surrealist aspect; we all live in a little Village.

Troyer: 
Do we?

McGoohan: Your village may be different from other people's villages but 
we are all prisoners.

Troyer: 
Well, I know who The Idiot is in mine...!

McGoohan: 
Yes, Number One - same as me.

Seventh Boy: 
Is No. 1 the evil side of man's nature?

McGoohan: 
The Greatest Enemy that we have...

No. 1 was depicted as an evil, governing force in this Village. 
So, who is this No. 1? We just see the No. 2's, the sidekicks

Now this overriding, evil force is at its most powerful within ourselves and we have constantly to fight it, I think, and that is why I made No. 1 an image of No. 6. 

His other half, his alter ego.

Troyer: 
Did you know when you first outlined the series in your own mind, the concept that No. 1 was going to turn out to be you, to be No. 6?

McGoohan: 
No, I didn't. That's an interesting question.

Troyer: 
When did you find out?

McGoohan: 
When it got very close to the last episode and I hadn't written it yet.

And I had to sit down this terrible day and write the last episode and I knew it wasn't going to be something out of James Bond, and in the back of my mind there was some parallel with the character Six and the No. 1 and the rest. 

And then, I didn't even know exactly 'til I was about the third through the script, the last script.

Troyer: 
How about you colleagues, the other writers. 
Were they surprised?

McGoohan: 
Yep..

Troyer: 
Were they annoyed?

McGoohan: 
No.

Troyer: 
Did they decide it was untidy?

McGoohan: 
No, they used to come along from time to time and say, "Who's No. 1?" you see. 
And I told them , "It's a secret" until I actually sat down and wrote it - and it was, actually; they didn't know until I handed out the script.

Troyer: 
But were they disappointed by that...?

McGoohan: 
No, they liked it. They said they always knew it was going to be him.

Troyer: (laughs) 
Once you told them.

McGoohan: 
Few of them did really. 
Nobody really knew. No.

Troyer: 
Why the double mask? 
Why the monkey face?

McGoohan: 
Oh, dear. 

Yeah, well, we're all supposed to come from these things, you know. 

It's the same with the penny farthing symbol bicycle thing. 

Progress. I don't think we've progressed much. 

But the monkey thing was, according to various theories extant today, that we all come from the original ape, so I just used that as a symbol, you know. 

The bestial thing and then the other bestial face behind it which was laughing, jeering and jabbering like a monkey.

Eighth Boy: 
Mr. McGoohan, during the last episode, Fall Out, we see the Prisoner. 

He's smiling and laughing and dancing for the first time and yet later on the very last scene is exactly the some as the very first scene where he's driving off with his familiar stern face. 

My Question is, has the Prisoner between the first and the last episode actually changed any?

McGoohan: 
Ah, no, I think he's essentially the same. 

I think he got slightly exhilarated by the fact that he got out of this mythical place and felt like doing a little skip and a dance, and singing a bit, and felt very happy to be going home with his little buddy, The Butler, you know. 

And we never did a cut of him when that door opened. 

We just saw the door open and he went in. 

So, you never knew whether his exhilaration was lost when he saw that sinister door that was left like an unfinished symphony.

Ninth Boy: 
In the final episode, does the Prisoner really consider becoming the leader of The Village?

McGoohan: 

No. He does not. 

He just wants to get out and he uses a technique which he hadn't used before that, which was violence, which is sad, but he does -- 

And that's how he gets out and then, of course, in the final episode, he goes back to his little apartment place and he has his little valet guy with him and the door opens on its own when he goes in the car. 

There you know it's gonna start over again because we continue to be Prisoners.

Ninth Boy: 
And that leads to my last question, what would the Prisoner be likely to do with his newfound freedom?

McGoohan: 
He hasn't got it.

Have You Seen This? Have You Heard About This?





Ike, got a minute? 

[enters and sits on Ike's bed

Let's talk, buddy. 

[Ike pauses his game and goes to his bed

You know, the school really wants us to keep talking to our kids about trolling on the Internet and how serious it is. 

I guess the troll from the school message boards is now harassing a famous Olympic athlete from Denmark, heh. 

Have You seen This? 
Have You Heard About This? 

Yeah well, she kinda called him out and said he could never get her to quit social media, and you know, you might say she's askin' for it. 

But uh, now this troll is being copied by other trolls who are all dog piling to see if they can get her to quit and, well God only knows what they're gonna do tonight. 

Well, goodnight, pal. 

You be sure to let your mom know we talked more about the horrific consequences of trolling. 

[steps outside, then leans back and smiles at Ike, then leaves and closes the door]

Roving Moderator





BARTLET :
You know, I was watching a television program before with a sort of a roving moderator who spoke to a seated panel of young women who are having some sort of problems with their boyfriends. 

Apparently, because the boyfriends have all slept with the girlfriend's mothers. 

Then they brought all the boyfriends out and they fought, right there on television.

Toby, tell me — These people don't vote, do they?

TOBY :
I wouldn't think so. No sir.

Sunday, 14 June 2020

Bugger Kafka

David Foster Wallace: Remarks on Kafka

“And it is this, I think, that makes Kafka’s wit inaccessible to children whom our culture has trained to see jokes as entertainment and entertainment as reassurance.

It’s not that students don’t “get” Kafka’s Humour but that we’ve taught them to see humour as something you get the same way we’ve taught them that a self is something you just have. 

No wonder they cannot appreciate the really central Kafka joke : that the horrific struggle to establish a human self results in a self whose humanity is inseparable from that horrific struggle. That our endless and impossible journey toward Home is in fact our home.


It’s hard to put into words, up at the blackboard, believe me. You can tell them that maybe it’s good they don’t “get” Kafka. You can ask them to imagine his stories as all about a kind of door. To envision us approaching and pounding on this door, increasingly hard, pounding and pounding, not just wanting admission but needing it; we don’t know what it is but we can feel it, this total desperation to enter, pounding and ramming and kicking. That, finally, the door opens … and it opens outward—we’ve been inside what we wanted all along. Das ist komisch.”


1999
"There is nothing up there."

STANTZ :
Hey, where do these stairs go....?

[ Venkman strides purposefully the ruins  of the obliterated corner-penthouse apartment, conducts a visual inspection of the newly-manifested architectural feature and pronounces his finding on the structure. ]

VENKMAN :
They Go Up.

[ And so they do. ]

The Personal Justice Warrior


Personal Justice : 
A Warriorship Ethic











And Finally, Rule # 9: 

Nobody’s Perfect. 

People are going to tell you, 
"You're perfect just the way you are." 

You are Not

You are imperfect
You always will be.

 But, There is a Powerful Force 
that designed you that way. 

And if you're willing to accept that, 
You Will Have GRACE.
 
And Grace is a gift.

And like The Freedom 
that we enjoy in This Country,

That Grace was paid for with 
Somebody Else's blood

Do not forget it. 

Don't take it for granted.

God bless you.

Please get home safely.

Thank you.

WHY I AM NOT A PACIFIST 
(1940) 

The question is whether to serve in the wars at the command of the civil society to which we belong is a wicked action, or an action morally indifferent or an action morally obligatory. 

In asking how to decide this question, we are raising a much more general question: how do we decide what is good or evil? 

The usual answer is that we decide by conscience. 

But probably no one thinks now of conscience as a separate faculty, like one of the senses. Indeed, it cannot be so thought of. 

For an autonomous faculty like a sense cannot be argued with; you cannot argue a man into seeing green if he sees blue. 

But the conscience can be altered by argument; and if you did not think so, you would not have asked me to come and argue with you about the morality of obeying the civil law when it tells us to serve in the wars. 

Conscience, then, means the whole man engaged in a particular subject matter. 

But even in this sense conscience still has two meanings. 

It can mean (a) the pressure a man feels upon his will to do what he thinks is right; (b) his judgement as to what the content of right and wrong are. 

In sense (a) conscience is always to be followed. 

It is the sovereign of the universe, which ‘if it had power as it has right, would absolutely Rule The World’. 

It is not to be argued with, but obeyed, and even to question it is to incur guilt. 

But in sense (b) it is a very different matter. 

People may be mistaken about wrong and right; most people in some degree are mistaken. 

By what means are mistakes in this field to be corrected? 


The most useful analogy here is that of Reason – by which I do not mean some separate faculty but, once more, The Whole Man judging, only judging this time not about Good and Evil, but about Truth and Falsehood. 


Now any concrete train of reasoning involves three elements :

Firstly, there is the reception of facts to reason about

These facts are received either from Our Own Senses, or from The Report of Other Minds; that is, either experience or authority supplies us with our material. 

But each man’s experience is so limited that the second source is the more usual; of every hundred Facts upon which to Reason, ninety-nine depend on Authority

Secondly, there is the direct, simple act of the mind perceiving Self-Evident Truth, as when we see that if A and B both equal C, then they equal each other. 

This act I call Intuition. 

Thirdly, there is an art or skill of arranging the facts so as to yield a series of such intuitions which linked together produce a proof of the truth or falsehood of the proposition we are considering. 

Thus in a geometrical proof each step is Seen by Intuition, and to fail to see it is to be not a bad geometrician but An Idiot

The skill comes in arranging the material into a series of intuitable ‘steps’. 

Failure to do this does not mean Idiocy, but only lack of Ingenuity or Invention

Failure to follow it need not mean Idiocy, but either Inattention or Defect of Memory which forbids us to hold all the intuitions together

Now all Correction of Errors in Reasoning is really correction of the first or the third element

The Second, the Intuitional element, cannot be corrected if it is Wrong, nor supplied if it is lacking. 

You can give The Man New Facts. 

You can Invent a Simpler Proof, that is, a simple concatenation of intuitable Truths. 

But when you come to an Absolute Inability to See any one of the self-evident steps out of which the proof is built, then you can do nothing

No doubt this Absolute Inability is much rarer than we suppose. 

Every Teacher knows that people are constantly protesting that they ‘can’t see’ some self-evident inference, but the supposed inability is usually a Refusal to See, resulting either from some passion which wants not to See The Truth in Question or else from Sloth which Does Not Want to Think at All

But when the inability is real, argument is at an end. 

You cannot produce rational intuition by argument, because argument depends upon rational intuition. 

Proof rests upon The Unprovable which has to be just ‘Seen’. 

Hence faulty intuition is incorrigible

It does not follow that it cannot be trained by practice in attention and in the mortification of disturbing passions, or corrupted by the opposite habits. 

But it is not amenable to correction by argument. Before leaving the subject of Reason, I must point out that authority not only combines with experience to produce the raw material, the ‘facts’, but also has to be frequently used instead of reasoning itself as a method of getting conclusions. 

For example, few of us have followed the reasoning on which even 10 per cent of the truths we believe are based. 

We accept them on authority from the experts and are wise to do so, for though we are thereby sometimes deceived, yet we should have to live like savages if we did not. 

Now all three elements are found also in conscience. 

The facts as before, come from experience and authority. I do not mean ‘moral facts’ but those facts about actions without holding which we could not raise moral questions at all – for we should not even be discussing Pacifism if we did not know what war and killing meant, nor Chastity, if we had not yet learned what schoolmasters used to call ‘the facts of life’. 

Secondly, there are the pure intuitions of utterly simple good and evil as such. 

Third, there is the process of argument by which you arrange the intuitions so as to convince a man that a particular act is wrong or right. 

And finally, there is authority as a substitute for argument, telling a man of some wrong or right which he would not otherwise have discovered, and rightly accepted if the man has good reason to believe the authority wiser and better than himself. 

The main difference between Reason and Conscience is an alarming one. 

It is thus: that while the unarguable intuitions on which all depend are liable to be corrupted by passion when we are considering truth and falsehood, they are much more liable, they are almost certain to be corrupted when we are considering good and evil. 

For then we are concerned with some action to be here and now done or left undone by ourselves. 

And we should not be considering that action at all unless we had some wish either to do or not to do it, so that in this sphere we are bribed from the very beginning. 

Hence the value of Authority in checking, or even superseding, our own activity is much greater in this sphere than in that of Reason. 

Hence, too, human beings must be trained in obedience to the moral intuitions almost before they have them, and years before they are rational enough to discuss them, or they will be corrupted before the time for discussion arrives.