On the Terrorism of Suicide

by Chengde Chen *

Approaching the 20th Anniversary Commemoration of 9/11, Pi is pleased to bring you a poem which originally appeared in The Guardian, in 2001. It is as relevant now as it was then—a poem, wrote Poet Laureate Andrew Motion, ‘to help us commemorate and try to understand’.

When released from the fear of death

men can be MC² times more powerful

Once they turn their mass into energy

the power is as great as our fear

The terrorism of killing with suicide

is different from that of only killing

Killing is terror

while suicide is a philosophy

 

Men who don't fear death are dead men

because fearing death is part of life

But by cancelling this premise of psychology

they have invalidated all we can do

 

We may talk to ordinary terrorism with war

but it makes the suicidal one more suicidal

If a death sentence is a home-delivery gift for them

cruise missiles would answer the wrong question

 

The way to conquer the suicidal

is to make them fear death again

That is to find the reason why they don't

and to eliminate it as a psychiatrist would

 

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* Chengde Chen is the author of Five Themes of Today: philosophical poems, and of the novel: The Thought-read Revolution. chengde.chen@hotmail.com

Trading Lives Without Anger

Heinrich Hoerle, 1930, Monument to the Unknown Prosthesis

 Posted by Allister Marran

The COVID-19 crisis has brought into sharp focus modern man’s ideological belief that he has mastered science and medicine, and has so defeated—or at least delayed—the intrusions of the Grim Reaper.  Our misplaced belief that medical science can cure any ailment means we want to try to save everyone—and when we cannot, there is dismay and fury.

Centuries of loud, proud pronouncements from researchers, scientists, and the medical community, of sound progress being made in the battle against age-old enemies like cancer, malaria, tuberculosis, and innumerous mortal ailments has lulled us into a false sense of security—a perception of invulnerability and ultimately immortality.

What happens, then, when death becomes an inevitable choice?  What if the choices set before us are choices which must choose death in any event?

Whilst the achievements of medical science cannot be overstated, and are undoubtedly impressive, our somewhat conceited overestimation of our ability to stave off death indefinitely has led us to a crossroads today which opens up the social, spiritual, and philosophical question of where to draw the line, who to try to save, and at what cost—if death is indeed inevitable.

At logical extremes, there are two distinct, divergent—apparently incompatible—viewpoints that could be held and debated. In the context of the coronavirus, or COVID-19:

• Firstly, that we should lockdown indefinitely, or until a treatment or vaccine is found, saving every life we can at any cost.

• Alternatively, when the cost becomes too high, to start trading the lives of the old and the sick for that of the starving young and poor.

There have of course been many pandemics, and COVID-19 is just be the latest contagion in a long line of similar illnesses that have ripped through the human population over the last hundred or so years—starting with the Spanish Flu in 1918, and continuously assaulting us before retreating and coming back again in different forms and kinds.

There is a difference this time, however.  The connected world and social media has allowed the world to track the progress of the disease and monitor its devastation, and the real-time outrage has been swift, palpable, and highly publicised.

A minister who has presided over countless funerals told me recently that there has been a perceptible change in the emotions expressed when family and friends come together to bury loved ones.  The old markers of grief and the grieving process are replaced with anger and fury today. 

But our fury has no object; it is just the way things work.  There must be a middle road—to save who you can, but allow those whose time has come to leave.  A realisation and philosophical embracing that our time on earth is finite, which in turn adds value to the little time we do have.  To say goodbye without anger or pain or fury, because after all, shouldn’t your last memory of a departed one be tinged with memories and feelings of love, not hate?

Death and History

Posted by Király István

Death lays the foundations of human history. However, this is only one aspect of death.

Death does not only illuminate the historically articulated human life, so to speak 'externally' — or more precisely, from its end, from an indefinite and aleatory, 'retrospective' point of view, as a foreign and external element — but it continuously interweaves, and what is more, grounds it in its most essential aspects.

To such an extent that history probably exists precisely because there is mortal human life — which is to say, a mortal human being who relates by his life to death, to his being-like-death and mortality — also in a being-like way, and mode of being-like. In other words because there is such a life to which death — its own death — in all respects lends weight, challenge, pressure — grip! — over itself and for itself, and by this a continuous and unavoidable possibility to undertake.

So, the non-human, non-Dasein*-like life which is 'finite', and as such is always born, disappears, passes away, comes into being, extinguishes, changes and evolves ... well, this life actually does not, and cannot have a history — just as the 'inorganic' regions of being have no history in fact, only in a metaphoric sense. Which of course does not mean that this life is not in motion, in change — that it is unrelated with time, or does not 'possess' time with all the processes and 'events', necessary or incidental — in the sense of their happening and references. These of course are also in touch with human history as challenges, meanings and possibilities — which is, when and if there is a questionable meaning or a question referring to meaning. So they have a story, but do not have a history — to the extent that this story of beings devoid of history only becomes — or only can become! — a history of being by history.

In accordance with this reasoning, history exists in fact because there is human death, because there are beings who relate to death — explicitly or implicitly — in and with their being, in and with their mode of being, in a being-like way — for whom death, their own death is not a mere givenness, but — by the way they relate to it — is, in fact, a possibility.

Moreover, it is a possibility which, by its own 'substantive' happening, is dying — precisely by its dying but always beyond it. It is a possibility which derives — and constitutes and structures, articulates, permeates, colours — all of their other modes and possibilities of being. In other words, it opens them up really and truly, structures them open in — and precisely because of — its finitude. And by this, it also lends to these possibilities a well-defined importance, open towards, and from, this finitude, which also leads in fact to the articulation of these modes of being.

If the various modes and regions of human existence — as well as their birth and changes in time — can prove that their very existence, meaning and change is utterly unthinkable and 'absurd' without death, or that death plays a direct or indirect role in their coming into being or changes, then it is also proved that death grounds, originates, and constitutes history in the … essential, ontological sense.


*Dasein is a German word which literally means 'being there' or 'presence'.

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Király V. István is an Associate Professor in the Hungarian Department of Philosophy of the Babes-Bolyai University, Cluj, Romania. This post is an extract selected by the Editors, and slightly adjusted for the purposes of the blog,  from his new book, Death and History.

Picture Post No 10: Faceless Fighters of Vietnam, 1972

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'Because things don’t appear to be the known thing; they aren’t that what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

Somewhere in the Nam Can forest, Vietnam, in 1972 ( Image: Vo Anh Khanh)

In the pciture above, faceless activists meet in the Nam Can forest, wearing masks to hide their identities from one another in case of capture and interrogation.

For many Americans, the dominant image of the Vietnamese and their Viet Cong allies during the war was as a ghostly enemy sneaking down the Ho Chi Minh trail defying US bombs and apparently inured to suffering.

The visual history of the Vietnam War has been defined by such images. There is Eddie Adams’ photograph of a Viet Cong fighter being executed; Nick Ut’s picture of a naked child fleeing a napalm strike, and Malcolm Browne’s photo of a man setting himself alight in flames at a Saigon intersection.



These scenes were captured by Western photographers working alongside American or South Vietnamese troops. But the North Vietnamese and Viet Cong had photographers of their own. Almost all were self-taught, and worked anonymously, or under a nom de guerre, viewing their role as part of a larger struggle.

‘For us, one photo was like a bullet.’ 

As one of the revolutionary photographers, Nguyen Dinh Uu, put it much later:

‘Processing chemicals were mixed in tea saucers with stream water, and instead of darkrooms, film was developed at night.’

Another photographer, Lam Tan Tai recalls how they came up with a new form of flash photography in order to picture fighters and villagers who were living in bomb shelters and tunnels.

‘We emptied gunpowder from rifle cartridges onto a small handheld device and then lit the gunpowder with a match. The burning powder provided all the light we needed.’

For Mai Nam:

‘The vast dark forest was my giant darkroom. In the morning I’d rinse the prints in a stream and then hang them from trees to dry. In the afternoon I’d cut them to size and do the captions. I’d wrap the prints and negatives in paper and put them in a plastic bag, which I kept close to my body. That way the photos would stay dry and could be easily found if I got killed.’

These photographers worked in the shadow of death whether by bombing, gunfire or from the perils of the jungle on the Ho Chi Minh Trail. Nine out of ten Vietnamese photographers perished whether by bullets, bombs, or disease. Many, such as Vo Anh Khanh, working clandestinely in the South, could never get their images to Hanoi and the media, but instead exhibited them to fighters and villagers in the mangrove swamps of the Mekong Delta - to raise morale.

Each image was precious. Today, with digital images essentially infinite, it is revealing to read that one photographer, Tram Am, had only a single roll of film which he had to use judiciously for the whole duration of the war.

In the early 1990s, two photojournalists, Tim Page and Doug Niven, decided to try to track down surviving Vietnamese photographers. One had a dusty bag of never-printed negatives, and another had his stashed under the bathroom sink. Vo Anh Khanh still kept his pristine negatives in a U.S. ammunition case, with a bed of rice as a desiccant.

One hundred eighty of these unseen photos and the stories of the courageous men who made them are collected in the book: Another Vietnam: Pictures of the War from the Other Side (National Geographic, 2002).

These pictures tell the story of a simple, rural people fighting the most technologically advanced and militarized nation on earth - and finally defeating it. They reveal a reality that nobody outside of the local experience could truly imagine. Looking back today, at Vietnam itself, in many ways their sacrifices seem to have been for nothing. Yet perhaps their struggle, and the images it spawned served a more profound purpose.

Life is not a neatly defined itinerary as these safeguarded masked women neatly standing in line might seem to imply. Rather, there are always several layers of meaning. Indeed, as one Vietnamese proverb puts it: ‘If you travel with Buddha, wear a saffron robe, but if you go with spirits, wear paper clothes.’

Read (and see) more at Mashable.com

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Picture Post No 10: Faceless Fighters of Vietnam, 1972

---

'Because things don’t appear to be the known thing; they aren’t that what they seemed to be neither will they become what they might appear to become.'

Posted by Tessa den Uyl and Martin Cohen

Somewhere in the Nam Can forest, Vietnam, in 1972 ( Image: Vo Anh Khanh)

In the pciture above, faceless activists meet in the Nam Can forest, wearing masks to hide their identities from one another in case of capture and interrogation.

For many Americans, the dominant image of the Vietnamese and their Viet Cong allies during the war was as a ghostly enemy sneaking down the Ho Chi Minh trail defying US bombs and apparently inured to suffering.

The visual history of the Vietnam War has been defined by such images. There is Eddie Adams’ photograph of a Viet Cong fighter being executed; Nick Ut’s picture of a naked child fleeing a napalm strike, and Malcolm Browne’s photo of a man setting himself alight in flames at a Saigon intersection.

These scenes were captured by Western photographers working alongside American or South Vietnamese troops. But the North Vietnamese and Viet Cong had photographers of their own. Almost all were self-taught, and worked anonymously, or under a nom de guerre, viewing their role as part of a larger struggle.

‘For us, one photo was like a bullet.’ 

As one of the revolutionary photographers, Nguyen Dinh Uu, put it much later:

‘Processing chemicals were mixed in tea saucers with stream water, and instead of darkrooms, film was developed at night.’

Another photographer, Lam Tan Tai recalls how they came up with a new form of flash photography in order to picture fighters and villagers who were living in bomb shelters and tunnels.

‘We emptied gunpowder from rifle cartridges onto a small handheld device and then lit the gunpowder with a match. The burning powder provided all the light we needed.’

For Mai Nam:

‘The vast dark forest was my giant darkroom. In the morning I’d rinse the prints in a stream and then hang them from trees to dry. In the afternoon I’d cut them to size and do the captions. I’d wrap the prints and negatives in paper and put them in a plastic bag, which I kept close to my body. That way the photos would stay dry and could be easily found if I got killed.’

These photographers worked in the shadow of death whether by bombing, gunfire or from the perils of the jungle on the Ho Chi Minh Trail. Nine out of ten Vietnamese photographers perished whether by bullets, bombs, or disease. Many, such as Vo Anh Khanh, working clandestinely in the South, could never get their images to Hanoi and the media, but instead exhibited them to fighters and villagers in the mangrove swamps of the Mekong Delta - to raise morale.

Each image was precious. Today, with digital images essentially infinite, it is revealing to read that one photographer, Tram Am, had only a single roll of film which he had to use judiciously for the whole duration of the war.

In the early 1990s, two photojournalists, Tim Page and Doug Niven, decided to try to track down surviving Vietnamese photographers. One had a dusty bag of never-printed negatives, and another had his stashed under the bathroom sink. Vo Anh Khanh still kept his pristine negatives in a U.S. ammunition case, with a bed of rice as a desiccant.

One hundred eighty of these unseen photos and the stories of the courageous men who made them are collected in the book: Another Vietnam: Pictures of the War from the Other Side (National Geographic, 2002).

These pictures tell the story of a simple, rural people fighting the most technologically advanced and militarized nation on earth - and finally defeating it. They reveal a reality that nobody outside of the local experience could truly imagine. Looking back today, at Vietnam itself, in many ways their sacrifices seem to have been for nothing. Yet perhaps their struggle, and the images it spawned served a more profound purpose.

Life is not a neatly defined itinerary as these safeguarded masked women neatly standing in line might seem to imply. Rather, there are always several layers of meaning. Indeed, as one Vietnamese proverb puts it: ‘If you travel with Buddha, wear a saffron robe, but if you go with spirits, wear paper clothes.’

Read (and see) more at Mashable.com

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Death, Philosophically

By Thomas Scarborough

'While I thought that I
was learning how to live,
I have been learning
how to die.'
– Leonardo da Vinci

It would seem to be an all-important philosophical subject. Humans, wrote anthropologist Ernest Becker, contribute all of their waking actions to avoiding it or distracting themselves from the complete thought of it. No surprise, therefore, that philosophers tend to do the same.



The philosophical debate about death, whatever one might believe about it oneself, is most basically defined in terms of whether our present life is related to an afterlife, or not. The operative word is “related”. If indeed it is related to an afterlife, then we may ask on what basis this might be. And if not, then we may ask what the absence of such a relation might imply. With this in mind, we shall explore the subject of death from the point of view of Homo sapiens as a relation-tracing being.

Relation-tracing is what makes us human. We have the special ability to arrange our world, conceptually and materially. In fact, it is our relation-tracing ability which enables us to transcend space and time, to pursue ambitions and aspirations which lie completely beyond the scope of the animal kingdom. Such relation-tracing, further, has everything to do with motivation. Most basically, wherever we find that things are not arranged as we think they ought to be, we are motivated to act.

In thinking about death, it is important to understand that, if our relation-tracing has no reasonable prospect of fulfilment, this may ruin our motivation. Plans and ambitions generally need to have some prospect of completion, or we do not undertake them. And death, it need hardly be noted, may rob us of such fulfilment. While it may not take away every motivation in life, it would seem to take away any ultimate motivation we have. Philosopher Thomas Nagel writes, with this in mind, that we should best not let thoughts about such things enter our heads. 'The trick,' he writes, 'is to keep your eyes on what's in front of you.'

An important fact about death is that its moment is nearly always uncertain, more or less. As much as we might hope that we can control it today, we do not know at what point death will intervene in our lives. Therefore any arrangements which we make for the future (which is relation-tracing) will almost inevitably be cut short by death at some point. We are not going to finish all that we began. In fact, the bigger the ambitions we have, the more likely they are to be cut short by death. To this, philosopher Simon Blackburn comments: 'That might reasonably bother me a great deal.

Unless, that is, it should be possible in some way to continue our present activities after death. Rarely is it assumed that we will, but one does encounter the idea. More often than not, it is assumed that the story will continue in some other kind of way. Assume, for instance, that the real story of our life is not one of hopes and plans, but it is really one of sin and righteousness. What would matter then, for any continuation of the story, is whether I was a person of virtue in this life. Or, by way of contrast, the real story of our life may be one of faith and apostasy – and so on. Thus one may view continuation in a variety of terms.

This view would seem to present us with a respectable answer to the puzzle of death. With such prospects of continuation, we would retain our enthusiasm over the things of this life. Nothing would ever be lost – which is, nothing that really matters. It would not matter to us, therefore, if our hopes or our plans should be cut off in this life. However, there is an obvious difficulty with this view – for philosophers at any rate. There is no evidence – not that we can agree on anyway – as to whether there is continued consciousness after death.

But there may be other ways, in which we might find a continuation. Our plans and ambitions might leave a valuable legacy in this world. We might live on through our children, and their children again. And if we should want to be romantic about it, Edvard Munch (the Norwegian painter) wrote that we live on through the flowers which grow on our grave. This, too, might provide the motivation to carry on with the purposes of life, even though we might not personally survive to see them fulfilled. Of course one assumes – although it might seem presumptuous to some – that our purposes are worthwhile.

But perhaps we should not think too deeply on this option. No legacy lasts forever. No family line is eternal – and some have been short, with brutal ends. In fact, whatever might lie ahead of us, the stars, they say, will one day all go out. Realistically, we should think of our continuation merely for the time being, however long that might be. Yet this would seem to serve as a disincentive for anything that we might do. Let us perform a simple thought experiment. Would we continue to do what we do now if we knew with certainty that an all-powerful police state would frustrate and destroy it? Probably not.

We have a further possibility, however. Perhaps we may lose our own person, even while we are living. We may have no thoughts which are our own. We may lose ourselves in our society, or in our culture – to the extent that we do not exist. Our hopes, our desires, our intentions might not belong to us. The notion of death is, after all, a very personal thing, and would seem to be infinitely accentuated by our own self-awareness and self-importance. Might it not be possible to blend with a stream of consciousness from generations past to generations future? Or perhaps – it might not be culture with which we may blend, but the very universe. 'Forget yourself,' writes Yayoi Kusama. 'Become one with eternity.'

Is this a viable option? Is it potentially possible, not to take death into the heart of our reality? As Homo sapiens, we have said, we transcend space and time with our relation-tracing. We think all the time in terms which transcend our lives. We see beyond our beginnings and our ends. Not only this, but any escape from our individuality would seem to necessitate an exit from our society as we know it. Not only is our society dependent throughout on individualism: my rights and freedoms, my intentions and actions,seen apart from the group. It is so variegated and fragmented that any attempt to reunite it in a fusion of histories and beliefs and purposes seems beyond possible. The individual, say the philosophes, is prior to the group.

And then there is, of course, the option simply of living in tension – in terror, for some, of the end of all our dreams and designs. This is, after all, what many people do with death. 'Men fear it,' said Socrates, as if they knew that it is the greatest of evils.' The fear of death may well be born of a rejection of death – in the sense that we decide to carry on with life with disregard, even defiance, in the face of death. The only way to carry on, we might say, is to forge ahead with all of our plans and ambitions, yet with terror, if we grasp the full reality of it. Unreconciled is how we should die, wrote philosopher Albert Camus.

Or perhaps there is a way – which the ancients could not fully have imagined. We may enter a phase of life, at the end of life, which we call retirement – in which there is nothing more to be done, nothing left to lose. This is the time of life where we deliberately set it all behind us, burn our bridges, and enjoy the afterglow. We have already died the coward's death – so that if we should die tonight, we might only miss a cup of filter coffee in the morning, or a game of golf in the afternoon sun.