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Moral struggle

December 14th 2011 19:23
What sort of examples comes to mind if you hear the phrase "moral struggle"?

Here's three that come to mine.

-- 1. Every lunchtime, I have to make a choice between greasy food and salad, and usually I go the grease. You know it's bad for you, you know it's the wrong choice, but you rationalize it and do it anyway.
-- 2. An officer, in wartime, is told to lie to his men and send them to certain doom. This will cause a distraction that will save more lives in the long term. He ponders. He weighs up what he thinks is right, he weighs up his own ability to lie, he makes a decision.
-- 3. Jewish mother hiding beneath floorboards with other families, while the house is being searched. The mother has a young baby, who is about to cry. The mother must cover the baby's mouth, and make a choice as to how much to stifle and how long to keep her hand there.

Of these three, I think there's a sense in which only the third example deserves the name "moral struggle", if it's considered a moral situation at all.

The first example, apart from being trivial, and apart from not involving a moral question on many people's conception of the word (rather, it is a "prudential" issue) -- apart from these things, it's a situation where the subject knows what's right and wrong. There is a struggle of willpower, but no struggle of belief or commitment.

The second example involves a genuine struggle between belief. You could frame this struggle in different ways: for instance, obligation not to lie and duty towards comrades on the one hand vs obligation to obey and utilitarian calculus on the other.

But one thing that I've tried to communicate is that the officer is approaching the question with his brain. It's like a maths problem. Certainly there must be emotions involved, but the officer masters them -- he ponders, he reflects, he thinks rationally about what to do.

What I want to emphasise about the third case is that the mother doesn't know what to do, emotions are very much involved, and it's a struggle that's embodied -- you can imagine her sweating, the thoughts flying around her head, the fear, etc. What it's not is a case of rational calculation and problem-solving pure and simple. The mother is not sitting there saying to herself, "What outcome will lead to the greatest happiness?" nor "I have these beliefs. I must make a decision as to which is the most important."

If she did stay cool and calm, how would we feel about that? Would we call the struggle moral?

Well, I think we might. But we might also feel that moral commitments should be written into your responses, and not simply carried about in your head. We might feel that "moral struggle" should involve genuine conflict of principles, and not simple calculation. We might feel that there has to be that period of aporia and mental churning -- what do I do, what do I do -- that constitutes the "struggle". And we might feel that paradigmatic cases of moral struggle should involve huge struggle, ripping you in two, going to the core of your being.

So, if it's purely intellectual, then it's not moral. And if it's easy, then it's no struggle.


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A few notes on meaning

November 18th 2011 01:44
In a sense, there's no such thing as a romantic relationship -- there is no such thing as a relationship. You have two people, their memories of each other, their behavioural dispositions, their environment, their social and legal contracts, etc. But it's not as if the relationship has reality in itself; this is merely a convenient way of speaking.

Well, the same is true, I'd suggest, of "meaning". It's not as if meanings exist -- this is merely a (very) convenient way of speaking. We seem to have an idea that words are containers that carry meaning; words travel from one brain to another and offload their cargo. But do words contain anything? Isn't the more realistic way of thinking to say that words are sounds and images -- physical things -- and they have physical effects that might or might not match my desires?

Is there non-physical "meaning" in addition to words? -- I am caused to produce the words, I produce them, they have effects on you -- is there anything more?

***

Do people have to have a single intention when they speak? Do they have to have a clear intention?

Judges will sometimes use the "intention" of parliament when interpreting a statute. But the whole thing is legal fiction: that law was drafted by many people, was voted on by many people, was worked through many committees. So, how could there be a single "intention"? It's not as if a parliament is a person.

But is a person a person? Don't people "contain multitudes" in the same way that parliaments do? Don't people have many and contradictory thoughts, and don't they change over time?

***

Do people have to have a single meaning when they speak?

-- Sometimes people want their words to work on multiple levels simultaneously, for instance literal and metaphorical.
-- Sometimes they want to convey different messages to different audiences simultaneously (to the spy who's bugged your phone as well as the diplomat you're talking to).
-- Sometimes they want words to be open to different interpretations simultaneously, as I did with "life-affirming".

***

Do people have to "have a meaning" at all?

The idea of "meaning" seems to involve other concepts -- intention, free will, reference, thought, clarity.

But consider:

-- People can begin to speak before they're quite sure what they think, or the words can come in a flash of insight before their sense is understood.
-- Sometimes they speaking without thinking at all, automatically reaching for cliches or favourite words/phrases -- perhaps defensively. Speech can be a conditioned response.
-- Sometimes they've memorised words without knowing the meanings -- national anthems, song lyrics, nursery rhymes, prayers, etc.
-- Sometimes people want the words to be meditated upon, to be explored in their ramifications, as with poetry or koans.
-- Sometimes they use words as causal levers, without regard for reference -- the child that learns "fuck" as a swear word before knowing what fucking is; the bridegroom uttering words as part of a marriage ritual; the actor that knows Shakespeare's words will move her audience, though she can't decode Elizabethan English; the writer that puts words together because they "sound right", regardless of their sense.
-- Sometimes people will just waffle, trying to conceal lack of meaning; or they'll speak in terms so general as to be devoid of meaning.
-- Sometimes people are intentionally vague or ambiguous; and this vagueness can in turn have other effects or communicate other things: coy or flirting ("I'm old enough for a lot of things now"), threatening ("You'll get what's coming to you"), humorously solemn or profound ("Reality exists").


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Review of Candy (2006)

November 16th 2011 23:22
There's an already seldom-mentioned 2006 film called Candy (starring Heath Ledger, Abbie Cornish, Geoffrey Rush; directed by Neil Armfield). Basically, as most reviewers pointed out, it's an Australian version of Requiem for a Dream -- young couple starts off flirting with drugs, and what follows is a downward spiral -- alienation from family, theft, prostitution, abortion, etc.

It plays out somewhat formulaically and slightly sanctimoniously (albeit it's based on true events), and one could reduce it to the South Park quote "Drugs are bad."

To spoil the ending, Abbie spends a while in hospital recuperating, and the last scene involves her coming to say goodbye to Heath, putting the final nail in -- kicking her addiction not only to drugs but also to the relationship.

One of the things that sticks in my memory (or perhaps I've imagined it) are the curious feelings at this point. Everything you've been through is "an incident" -- curiously self-contained -- a bubble outside of time -- with characters essentially left in the same position they start out in. All the drama is like a dream/nightmare that never really happened: you look back on it with mixed feelings, but also with faded, muted feelings -- like sadness or nostalgia, rather than anger or passion.

A sense of unreality -- as if that chapter of your life is now closed and happened to a different person.

A sense of impossibility -- that life, that relationship is impossible; the distance is uncrossable; I'm such a different person now from what I was then, there's been so much water under the bridge, that there's just no way; it's not even a question.

***

I walked out of the cinema, and I liked the film, and I definitely liked the performances, but my girlfriend seemed rather scarred from the experience. She asked me what I thought, I told her the film was "life-affirming", and she was charmingly shocked.

Now, "life-affirming" was of course meant to be provocative; but I was also trying to say something about how I felt. It wasn't simply a wind up. I could sense the adjective was somehow appropriate, but couldn't at the time have told you in what way it applied.

Flash forward five years. I'm still not sure what I meant; and, of course, I've changed -- I'm trying to reconstruct what a different version of me said. But it seems to me that, when it comes down to it, there was a bunch of different ideas I had, and I meant the adjective to touch on each of the ideas, to open up different lines of thought. For instance:

-- the two characters come through the drugs by close of movie; drugs are bad; so it's ultimately a happy ending;
-- the film is full of living, full of different experiences and emotions;
-- the film wants to be faithful to life, to how things really were, watching the small details -- it doesn't glamorize or stylize (in contrast with Requiem); sets, acting, script are naturalistic; it's perhaps not that different from a Dogme film;
-- the film values experience in itself -- both the highs and the lows;
-- there is beauty even in the darkest moments;
-- with its distanced and grander emotions at close of movie, the film poeticizes life, elevates the humdrum of human existence.


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A dozen notes and quotes #14

November 6th 2011 02:03
I didn't recognize the person, but I remembered their dog.

***

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Memory (HP Lovecraft)

October 22nd 2011 09:54
Written in 1919 and published in May 1923 in The National Amateur.

***

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Discrediting medicine

October 20th 2011 21:12
Does the Sokal Affair discredit postmodernism? Well...

"In the early 1970s, a group of medical researchers decided to study an unusual question. How would a medical audience respond to a lecture that was completely devoid of content, yet delivered with authority by a convincing phony? To find out, the authors hired a distinguished-looking actor and gave him the name Dr. Myron L. Fox. They fabricated an impressive CV for Dr. Fox and billed him as an expert in mathematics and human behavior. Finally, they provided him with a fake lecture composed largely of impressive-sounding gibberish, and had him deliver the lecture wearing a white coat to three medical audiences under the title 'Mathematical Game Theory as Applied to Physician Education.' At the end of the lecture, the audience members filled out a questionnaire


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A dozen notes and quotes #13

October 19th 2011 20:40
Two people applied for the job: a white female and a black male.

How do you reconcile your sexism with your racism


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The monitor

October 19th 2011 08:38
Every day he comes home, and he's so glad to be done with work, and he feels like a slave, and he tells himself he hates it. And he looks at his bank balance, and does the math, and counts down the days to the next payday, and counts the paydays till he can buy it -- a monitor for his camera, the monitor, that particular one. He drools over that monitor. It will clearly transform his cinematography, and then his life.

But he does know, of course, if anyone were really to press him on the point, that there will be no ending at that acquiring, no finality -- that once he buys the monitor, he'll then be saving for a slider, then a steadicam, then a camera crane, with goals succeeding goals and the wanting never abating. And the same story is retold for every transcendent moment he's experienced -- in sex, in victory, in art, in church. The hungering before the event, the pull towards it, the feeling in the moment of the moment's significance. And then return, reversion. All that expectation and effort -- blowing away. There's no world-stopping perfection -- only the belief in it, or hope for it


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Devil's bargains

October 12th 2011 10:26
Bargain 1: The devil tells you that you've got a choice. You're a very smart kid. You could do anything you put your mind to -- lawyer, doctor, politician... and artist. If you abandon art, you will live a comfortable life, and die surrounded by loved ones. If, on the other hand, you choose to pursue art, you will live a poor, sick, miserable life, be constantly in need of money, will die alone, and will receive no recognition during your lifetime. However, people will praise you 200 years after you're dead.

Bargain 2: You refuse comfort. You tell the devil that art means a lot to you, though you're unable to explain yourself when he laughs at you and asks why. Very well, he says. He ups the stakes. If you abandon art, you'll not only live a comfortable life, but a very, very happy one -- you'll become wealthy and famous, you'll sleep with supermodels or marry princes, you'll have palaces, you'll achieve a lot of good for third world countries, etc, etc. Whatever it is that people dream about and measure happiness and success in terms of, you'll have -- apart from art


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Facts in relation to computers

October 11th 2011 16:57
When I was in Cubs, aged eight or nine, we once played this ridiculous game: we were each asked, publicly, how many sheets of toilet paper we used. I was the first. What to say, what to say. What's normal? Frankly, I used a bidet instead of toilet paper; and, when I did use toilet paper, I used a lot of it -- some to cover the seat, doubling sheets rather than single sheets to wipe, wiping overenthusiastically to make sure the area was as clean as possible, etc.

I answered "six", figuring that this was modest and neither too much nor too little


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