Poetry to Refute Dawkinsism

A special poem by Chengde Chen to launch the new blog

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How to Refute Dawkins’ Atheism

 

Dear Professor Dawkins, 

Yes, your bestseller, The God Delusion, is bought by millions;
more so your TV debates taking on archbishops, hotly YouTubed.
“No belief without evidence”, your atheist crusade is convincing,
like sounding the new death-knell of religion, with web power.

When the believers defend faith with Scripture,
you dare them to “walk on water” or “turn water into wine”.
When they count the moral good religion brings,
you attribute enough wars and scandals to the Church.
When they’re lost for words, or deeds, and God is laughed at,
you harvest applause, like the invincible spokesman of reason.

However, let me ask you a hypothetical question: 
 
“If you knew it was the case that, without the fear of God,
human society would collapse, would you still reject religion?”
 
If you say “yes”, surely you would see how irrational you were –
worse than cutting off a man’s head to treat his headache.
A rational person, as you firmly claim to be, has to say “no” –
doesn’t this mean faith could be justified without evidence?

Reason has two functions: seeking truth and weighing expediency;
if we can’t tell if it’ll rain, we’ll carry an umbrella as a precaution.
Since “God’s existence” can neither be proved, nor disproved,
it’s reasonable for man to discipline himself with the imagination,
which wasn’t a “delusion” that happened to occur in all cultures,
but a spiritual organ driven by the evolutionary need to coexist.

Without the simple idea of the-Almighty-for-good-and-against-evil, 
what could have turned a race of jungle animal into a moral being?
True or not, the great invention of man’s “second heart”
deserves Nobel returning to history to award his best prize! 

 Yours sincerely, 

     An agnostic-who-explains-religion-with-evolution
 

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Readers can find out more about Chengde and his poems here

Doublethink 5 - Private Roads

Index: 187

Flat Earthers - exploring human nature

 Can graphic art offer unique and particular insights that words alone may miss?

By Tessa den Uyl

Click to expand

I believe that they can. It was as a result of working on a project to create an animated film about the processes of the imagination that I came to the idea behind these images...  And so, the drawings here (part of a longer series) are a kind of path that I followed in a bid 'to solve' a particular philosophical question

'Flat Earth' was conceived as a kind of platform to display aspects of imagination, modesty, and alertness envisioned within a character who inquires into himself about how language games determine his ways of thinking.

This central character tries to understand in what kind of landscape he sees his habits, and whatever he produces materially within that created world is not merely the reflected image of the creation that he imagines, but instead what he perceives is a privileged space, where an image becomes an epiphany, and it is in that space that he can develop his imagination.




Imagination is an activity, it is never passive, it is never negative. Instead, it is active within the limitations that the thinker - and the central character in my imaginary world -  assigns to it. That is why the character reveals himself, in the images here, as he really is: defined in relation to the biases of his own worldview, his own philosophy of knowledge.

Imagination is reaching out towards him and he cannot help but grow inside of it. This is the temptation of imagination; he cannot refuse to grow up and enter into a deeper relationship with the world.

On the other hand, even if the character is willing to “grow up” it doesn’t necessarily mean that he is capable of doing so. Instead, what he wants to see, what he has learned to see, excludes what he can actually see.  His knowledge doesn’t describe the world, but only tends to ascribe to things its own relations.

So the human being on Flat Earth recognises that he has nothing but relations; that imagination is about making relations between things, and this means that he will always have to deal with language and context. The Flat Earth is that space in which the character tries to “un-culture” himself. In the process, he has to face how he perceives, for it is too easy to be transported along the paths of semantic distortions and to inadvertently give a false value to something in the process of trying to transform values we have created into ultimate truths. The character in my imaginary world does not want to postulate a world, to impose a particular view, but tries instead to enhance the possibility of many different ones.

Click to expand

Particles Dreaming

 By Pierre-Alain Gouanvic

What do particles know?

The original intution of Thomas Young (1802) was to reproduce the cancellation of water waves, but with light; the double slit was simply used to yield two exactly identical light sources (the same, divided in two). Notice the straight lines that seem to radiate from the source of the water waves: they are made of the cancellation of each other, and are analogous to the dark regions on the five-step picture on the right, a true depiction of the impact of electrons in an experiment made by Tanamura.

The double-slit experiment is a demonstration that light and matter can display characteristics of both classically defined waves and particles. It is also said that it displays the 'fundamentally probabilistic nature' of the universe at the quantum scale.

In the Bohm interpretation of quantum physics, the reason why single particles seem to interfere "with themselves", in other words, the reason why, in the double-slit experiment, even single particles ultimately form a figure of interference despite of the fact that they are not emitted as beams but one after the other (see the 5-step process, right), is because each of these particles have a kind of pilot wave which does interfere with itself in some circumstances like the double slit apparatus. The analogy of the sonar helps to explain the phenomenon : picture a dolphin who would have to echolocate through two holes and you get the picture!

Bohm had many analogies for the quantum potential, his revised version of the pilot wave. The sonar is one of them. The information given by the surroundings guides the dolphin, it is called 'active information'

However, what this analogy leaves unattended is the fact that particles do not "send" signals to the surrounding and do not "wait" for this signal to bounce back. Another analogy far remote from the sonar one, was given by Bohm : each particle is like a piece of an hologram, each contains information about the whole, but each is concretised in a specific context.

The 'echolocation' process would be more like a pulsation between the particle as a located entity and the particle as one concretion of the whole. Pulsating infinitely rapidly between being-discrete and being-the-whole, the particle would be more like a process taking the form of an object.
What kind of "thing" can be everything half of the time and something the rest of the time?

Humans, for starters. We, as particles, tend to forget that we also are the whole, each night. We dream.

Doublethink 4 - Writing on the Moon

Index: 185

A Philosophy of Gestures

By Thomas Scarborough

 

A weighty philosophical tome it may not have been, nor a seminal paper, nor a famous meeting which made the greatest contribution to modern philosophy, but a single gesture. Unusually, for a gesture – since gestures are so quickly lost in the tumult of our daily life – it was one of the best recorded gestures of time. 

Piero Sraffa – otherwise known for his lectures on economics at Cambridge – impulsively brushed his chin with his fingers. So important was Sraffa to Ludwig Wittgenstein – above all, it would seem, through that single gesture – that Wittgenstein acknowledged Sraffa in his Philosophical Investigations. The same Wittgenstein, that is, who wrote to his professor G.E. Moore: “Dear Moore,... the whole business [of acknowledgement] is too stupid and too beastly.” For such sentiments, Wittgenstein was denied his BA degree. Citations, at Cambridge, were required by the regulations.

Wittgenstein finally wrote acknowledgements in his Philosophical Investigations, but not to his mentors Gottlob Frege, or Bertrand Russell, nor to any of the luminaries he there refers to merely as “other people” – only to Frank Ramsey and Piero Sraffa. The acknowledgement to Ramsey seems somewhat cursory: through him, he “was helped”. But his acknowledgement to Sraffa is profound: "I am indebted to this stimulus for the most consequential ideas in this book". And “this book”, in turn, arguably had the most consequential effects of the century, in philosophy. While it is not known which stimulus it was that Wittgenstein refers to in his book, it is generally assumed that the gesture encapsulates it all – followed by Sraffa's interrogation of Wittgenstein:   

“What is the logical form of that?”  

Sraffa need not have brushed his chin with his fingers. It might as easily have been a punch. “What is the logical form of that?” Or a hug. Even a jig. Or, for that matter, a legacy, or a rampage. President Kennedy's visit to West Berlin, we may suppose, was a gesture. The Bomb under Mururoa. The independence of East Timor. The destruction of the Twin Towers. In their broadest sense, these are gestures all. They are actions, that is, performed to convey a feeling or intention.

Let us now turn our attention to another gesture – in another place, another time. It is a gesture which holds much in common with that of Sraffa. The details of this gesture, unlike Sraffa's, are lost in time – yet we may assume that it was the one gesture which raised all other gestures to prominence in a certain young man's mind.

In his introductory observations in Of Morals, David Hume wrote simply: “I see the effects of passion in the voice and gesture.” Hume, that is, observed not merely that the voice reveals the effects of passion, but gesture. Or to put it more broadly, it was not merely Hume's mastery of words and ideas which informed his moral philosophy, but his witness of gesture.

Hume, in this way, may be said to foreshadow Wittgenstein. Like Wittgenstein, gesture caused him to look beyond a world of mere words and logical structures. Wittgenstein merely saw what Hume had seen before. Hume had had his Sraffa moment, two hundred years before – although, to be sure, he had not made much of it.

Hume, further, appeared to assume a logic of gesture. We do not need to look far to find it. We find it in that fleeting comment in Of Morals: “I see the effects of passion...” Gestures, for Hume, were “effects”. Further, these effects were “seen” – and presumably therefore, interpreted. Effects, of course, have causes. And both causes and effects, in turn, are what systems are made of. Whatever one may say about Hume's ethics, he believed in some kind of gestural trade.

We give gestures and we take them. We balance gestures. We contemplate them. We arrange gestures within our world. This is the stuff of which our moral life is made. While on the surface of it, such gestures may appear to have no logical form – being intangible, mysterious, and as Hume considered, “perfectly inexplicable by human reason”, yet we know what they are. We have a repertoire of gestures. This repertoire has definition, of a kind. And further, it forms a vast network – personal, social, global. 

Piero Sraffa might cast some further light on this. Usually it is assumed that Sraffa gave Wittgenstein the impulse for abandoning ethics as a rational quest. We imagine that Sraffa, brushing his chin, would have answered his own question thus: 

“There is no logical form of that, of course. Ethics and logic do not mix.”

Yet Sraffa himself was an ethicist, and a systematic one at that. He was a Ricardian – which is, he sought a balance of human and material value. Let us for a moment suppose that there may be a variant reading of Sraffa. Supposing that Sraffa's internal dialogue would have read something like this:  

“What is the logical form of a gesture, Wittgenstein? Speak, Wittgenstein, for I see it before us so clear. I recognise a gestural trade.” 

Supposing that gestures are logical forms. Supposing that there exists a system of gestures – where we understand gestures in their broadest sense. Gestures, then, might be organised structurally, as a kind of gestural ethics. This raises a number of questions which are beyond the bounds of one short essay – yet one may suggest that chief among them are these:

Firstly, may a system of gestures be so ordered as to be more pleasing than other systems of gestures? How, then? and on what basis? And secondly, would such a system of gestures be unique and autonomous, as G.E. Moore suggests? Or is the way in which we trade in gestures in some way fundamentally the same as the way in which we dialogue in history, law, geography, and theology – in fact chemistry and physics, too?

It would seem too daring to take on both questions at once – yet with a leap of the imagination, Sraffa might help us further with the first. Supposing that the emphasis of Sraffa's question was this:   

“Logic, Wittgenstein, is little pieces of thought. Think, Wittgenstein – think more expansively! Look at the meaning of this gesture, socially and globally!”

Sraffa's gesture clearly combined action with meaning. Not only that, but in that moment in which he brushed his chin, he used the expression of an entire culture – not merely of a man. His gesture combined history and society, heritage and cultivation. It exploded the bounds of logic. Good morals, Sraffa might have suggested, do not lie in the study of logical pieces.
 
Sraffa, after all, was a globalist. Supposing this interpretation to be true, the lesson might not have been lost on Wittgenstein. On the surface of it, while he abandoned any logic of ethics, his mature philosophy embraced forms of life – namely, the notion that our language is embedded in the entire matrix of our lives: sociological, historical, linguistic, physiological, behavioural.

David Hume, apparently, moved in much the same direction. In his later thinking, his ethics came to encompass not merely individual morals, but “the happiness of mankind”. A raft of moral gestures, he thought, rested “solely” on considerations which took the whole of society into account: justice, fidelity, honour, veracity, allegiance, and chastity.
 
Both of these conclusions, of Wittgenstein and of Hume, the first located in the 20th century, the second in the 18th, may originally have been motivated by gestures – so opening up to these key philosophers a more apposite and expansive thinking, an ethics in the context of the whole world, in all its varied manifestations.

There remains one more gesture which we find in the annals of philosophy, without which this essay would not seem to be complete. It was the final, touching gesture of Immanuel Kant. Rather than signalling a philosophy that was yet to come, this was a retrospective gesture.

When Kant's doctor called on him in his final days, the ailing Kant, with some difficulty, stood up to receive him, and would not allow himself to be seated again until the doctor had taken his place.

One might wonder what it was all about – if Kant had not, reportedly, explained it himself. It was, said Kant, the sign of a life that had connected the personal with the universal. That is, it was a gesture which revealed the categorical imperative – a gesture as wide as the world, and not merely for his own sake – in fact, even at his own expense. For Kant, too, gestures embodied an ethic which transcended narrower, personal, parochial interests.

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