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Perception requires imagination because the data people encounter in their lives are never complete and always equivocal. For example, most people consider that the greatest evidence of an event one can obtain is to see it with their own eyes, and in a court of law little is held in more esteem than eyewitness testimony. Yet if you asked to display for a court a video of the same quality as the unprocessed data catptured on the retina of a human eye, the judge might wonder what you were tryig to put over. For one thing, the view will have a blind spot where the optic nerve attaches to the retina. Moreover, the only part of our field of vision with good resolution is a narrow area of about 1 degree of visual angle around the retina’s center, an area the width of our thumb as it looks when held at arm’s length. Outside that region, resolution drops off sharply. To compensate, we constantly move our eyes to bring the sharper region to bear on different portions of the scene we wish to observe. And so the pattern of raw data sent to the brain is a shaky, badly pixilated picture with a hole in it. Fortunately the brain processes the data, combining input from both eyes, filling in gaps on the assumption that the visual properties of neighboring locations are similar and interpolating. The result - at least until age, injury, disease, or an excess of mai tais takes its toll - is a happy human being suffering from the compelling illusion that his or her vision is sharp and clear. We also use our imagination and take shortcuts to fill gaps in patterns of nonvisual data. As with visual input, we draw conclusions and make judgments based on uncertain and incomplete information, and we conclude, when we are done analyzing the patterns, that out “picture” is clear and accurate. But is it? ↗
#eyes #perception #reality #age
The moon seemed to veil herself before the bold looks of Satan. The night was cold. All the doors were closed, all the windows darkened. and the streets deserted. From their appearance, one would have imagined that, for a long time past no foot had traversed those silent streets. Everything around us bore a death-like aspect. It seemed as if, when day came, no one would open their doors; that no head, of woman or of child, would look out of those dark, dull windows; that no step would break the silence which fell, like a pall, upon all around. I seemed to be walking in a city which had been buried some ages. In truth, the town seemed to have been depopulated, and the cemetery to have grown full. Still we went forward, without hearing a murmur, or meeting even with a shadow. The street stretched for a long way across this fearful city of silence and repose. At last we reached my house. 'You remember it?' said the fiend. 'Yes,' replied I, sullenly, 'let us enter.' 'First,' said he, 'we must open the door. It is I, by the way, who invented the science of opening doors without breaking them in. In fact, I have a second key to all doors and gates - with one exception - that of Paradise!' ("The Dead Man's Story") ↗
When a soul in sin, under the impetus of grace, turns to God, there is penance; but when a soul in sin refuses to change, God sends chastisement. This chastisement need not be external, and certainly it is never arbitrary; it comes as an inevitable result of breaking God’s moral law. But the entrenched forces of the modern world are irrational, men nowadays do not always interpret disasters as the moral events they are. When calamity strikes the flint of human hearts, sparks of sacred fire are kindled and men will normally begin to make an estimate of their true worth. In previous ages this was usual: a disordered individual could find his way back to peace because he lived in an objective world inspired by Christian order. But the frustrated man of today, having lost his faith in God, living as he does, in a disordered chaotic world, has no beacon to guide him. In times of trouble he sometimes turns in upon himself, like a serpent devouring its own tail. Given such a man, who worships the false trinity of (1) his own pride, which acknowledges no law; (2) his own sensuality, which makes earthly comfort it goal; (3) his license, which interprets liberty as the absences of all restraint and law—then a cancer is created which is impossible to cure except through an operation or calamity unmistakable as God’s action in history. It is always through sweat and blood and tears that the soul is purged of its animal egotism and laid open to the Spirit … Catastrophe can be to a world that has forgotten God what a sickness can be to a sinner; in the midst of it millions might be brought not to a voluntary, but to an enforced crisis. Such a calamity would put an end to Godlessness and make vast numbers of men, who might otherwise lose their souls, turn to God. ↗
At this stage of the game, I don’t have the time for patience and tolerance. Ten years ago, even five years ago, I would have listened to people ask their questions, explained to them, mollified them. No more. That time is past. Now, as Norman Mailer said in Naked and the Dead, ‘I hate everything which is not in myself.’ If it doesn’t have a direct bearing on what I’m advocating, if it doesn’t augment or stimulate my life and thinking, I don’t want to hear it. It has to add something to my life. There’s no more time for explaining and being ecumenical anymore. No more time. That’s a characteristic I share with the new generation of Satanists, which might best be termed, and has labeled itself in many ways, an ‘Apocalypse culture.’ Not that they believe in the biblical Apocalypse—the ultimate war between good and evil. Quite the contrary. But that there is an urgency, a need to get on with things and stop wailing and if it ends tomorrow, at least we’ll know we’ve lived today. It’s a ‘fiddle while Rome burns’ philosophy. It’s the Satanic philosophy. If the generation born in the 50’s grew up in the shadow of The Bomb and had to assimilate the possibility of imminent self destruction of the entire planet at any time, those born in the 60’s have had to reconcile the inevitability of our own destruction, not through the bomb but through mindless, uncontrolled overpopulation. And somehow resolve in themselves, looking at what history has taught us, that no amount of yelling, protesting, placard waving, marching, wailing—or even more constructive avenues like running for government office or trying to write books to wake people up—is going to do a damn bit of good. The majority of humans have an inborn death wish—they want to destroy themselves and everything beautiful. To finally realize that we’re living in a world after the zenith of creativity, and that we can see so clearly the mechanics of our own destruction, is a terrible realization. Most people can’t face it. They’d rather retreat to the comfort of New Age mysticism. That’s all right. All we want, those few of us who have the strength to realize what’s going on, is the freedom to create and entertain and share with each other, to preserve and cherish what we can while we can, and to build our own little citadels away from the insensitivity of the rest of the world. ↗
#apocalypse-culture #existentialism #isolation #naked-and-the-dead #norman-mailer
The greatest book in the world, the Mahabharata, tells us we all have to live and die by our karmic cycle. Thus works the perfect reward-and-punishment, cause-and-effect, code of the universe. We live out in our present life what we wrote out in our last. But the great moral thriller also orders us to rage against karma and its despotic dictates. It teaches us to subvert it. To change it. It tells us we also write out our next lives as we live out our present. The Mahabharata is not a work of religious instruction. It is much greater. It is a work of art. It understands men will always fall in the shifting chasm between the tug of the moral and the lure of the immoral. It is in this shifting space of uncertitude that men become men. Not animals, not gods. It understands truth is relative. That it is defined by context and motive. It encourages the noblest of men - Yudhishtra, Arjuna, Lord Krishna himself - to lie, so that a greater truth may be served. It understands the world is powered by desire. And that desire is an unknowable thing. Desire conjures death, destruction, distress. But also creates love, beauty, art. It is our greatest undoing. And the only reason for all doing. And doing is life. Doing is karma. Thus it forgives even those who desire intemperately. It forgives Duryodhana. The man who desires without pause. The man who precipitates the war to end all wars. It grants him paradise and the admiration of the gods. In the desiring and the doing this most reviled of men fulfils the mandate of man. You must know the world before you are done with it. You must act on desire before you renounce it. There can be no merit in forgoing the not known. The greatest book in the world rescues volition from religion and gives it back to man. Religion is the disciplinarian fantasy of a schoolmaster. The Mahabharata is the joyous song of life of a maestro. In its tales within tales it takes religion for a spin and skins it inside out. Leaves it puzzling over its own poisoned follicles. It gives men the chance to be splendid. Doubt-ridden architects of some small part of their lives. Duryodhanas who can win even as they lose. ↗
From Orient Point The art of living isn't hard to muster: Enjoy the hour, not what it might portend. When someone makes you promises, don't trust her unless they're in the here and now, and just her willing largesse free-handed to a friend. The art of living isn't hard to muster: groom the old dog, her coat gets back its luster; take brisk walks so you're hungry at the end. When someone makes you promises, don't trust her to know she can afford what they will cost her to keep until they're kept. Till then, pretend the art of living isn't hard to muster. Cooking, eating and drinking are a cluster of pleasures. Next time, don't go round the bend when someone makes you promises. Don't trust her past where you'd trust yourself, and don't adjust her words to mean more to you than she'd intend. The art of living isn't hard to muster. You never had her, so you haven't lost her like spare house keys. Whatever she opens, when someone makes you promises, don't. Trust your art; go on living: that's not hard to muster. ↗
Human perfection and technical perfection are incompatible. If we strive for one, we must sacrifice the other: there is, in any case, a parting of the ways. Whoever realises this will do cleaner work one way or the other. Technical perfection strives towards the calculable, human perfection towards the incalculable. Perfect mechanisms - around which, therefore, stands an uncanny but fascinating halo of brilliance - evoke both fear and Titanic pride which will be humbled not by insight but only by catastrophe. The fear and enthusiasm we experience at the sight of perfect mechanisms are in exact contrast to the happiness we feel at the sight of a perfect work of art. We sense an attack on our integrity, on our wholeness. That arms and legs are lost or harmed is not yet the greatest danger. ↗
#catastrophe #human-perfection #technical-perfection #technology #titanism
He shook his head, just looking at me. - "What?" I asked. - "Nothing" he said. - "Why are you looking at me like that?" Augustus half smiled. "Because you`re beautiful. I enjoy looking at beautiful people, and I decided a while ago not to deny myself the simpler pleasures of existence." A brief awkward silence ensued. Augustus plowed through: "I mean, particularly given that, as you so deliciously pointed out, all of this will end in oblivion and everything." I kind of scoffed or sighed or exhaled in a way that was vaguely coughy and then said, "I`m not beau-" - "You are like a millennial Natalie Portman. Like V for Vendetta Natalie Portman." - "Never seen it." - "Really?" he asked. "Pixie-haired gorgeous girl dislikes authority and can`t help but fall for a boy she knows is trouble. It`s your autobiography, so far as I can tell." His every syllable flirted. Honestly, he kind of turned me on. I didn`t even know that guys could turn me on - not, like, in real life. ↗
