In the article Seeking New Laws of Nature (pg. 129) from Twenty Questions: An Introduction to Philosophy, Richard Feyman wrote that “We never are definitely right, we can only be sure we are wrong.” Feyman also states that a theory “can never” be proven right. Semantically speaking I suppose that the statement has validity since once a theory has been proven to be correct, it becomes a principle theorem, or fact of reality that can be considered a truth or knowledge.
Feyman's equivocation on the word “theory” for knowledge, in no way hides the fact that he is attempting to deny the validity of knowledge. This postulation (formally known as Skepticism) promotes the evasion of certainty in knowledge. This is the same school of thought purporting that there are no absolutes (which is essentially the same thing as saying nothing can be proven to be true) which implies that we can not achieve certainty about anything. I reject that postulation for many reasons, but initially I reel from the absurdity of the statement itself, making an absolute claim of certainty about being uncertain.
Knowledge is a mental grasp of reality, reached by a process of reason based on verifiable observation. Factual, knowable information is not contingent on doubt or skepticism. Besides the vast repository of information - facts that have been scientifically proven to be true, existence itself remains immutably self-evident.
To propose that existence is anything other than self-evident reality, is to deny and evade truth and knowledge which is to deny your mind the permission to form cogent, rational evaluations of your perceptions. To assert that these natural facts can not be proved creates an unnatural dichotomy between logic and reality. This kind of anti-reasoning is what the Skepticist sustains, and is well represented by Richard Feyman in Seeking New Laws of Nature. Credulity in a system that permits this kind of abandonment of reason leaves its constituents with the hopelessness of perpetual uncertainty.
Fortunately, reason and rational thinking are matters of volition. It is not required that anyone subject themselves to the impairment of their rational faculties as Skepticism (Feyman’s version or any other) demands. There is a natural objective alternative that demands the application of reason, which inherently sustains the integrity of knowledge and truth.
Sunday, October 19, 2014
Sunday, October 12, 2014
Labels
On a private forum (that shall remain anonymous) I read "... the more firmly someone applies a label to her/himself, the less likely to be able to be polyamorous in any practical sense. If that label has a capital letter at the beginning, the likelihood of "thinking for oneself" drops a bit further."
Sounds extremist to me, particularly considering how wide-ranging a generalization it is. After all isn't referring to yourself as "polyamorous", in itself, an act of applying a label? Isn't your own name a capitalized label? And there are many other identifying labels that you own i.e. your species, ethnicity, nationality, and heritage affiliation, to name just a few.
Some of these labels we choose, others are applied to us, and though we have no practical choice about their application (can't tell people what to think or say), we may deny our ownership of them. However, what purpose would it serve for me to deny that I am all of the adjective labels that describe or identify who I am? It wouldn't change the fact if the adjective is accurate. The quoted statement implies that by choosing other labels for myself i.e. husband, friend, lover, atheist, liberal, etc., I am somehow alienating myself from another chosen label (polyamorous in this case)? No, the quote is a flamboyant generalization.
Labels (whether applied to us or made by choice) are tools of identification. Identity is a fundamental concept of communication, consequently so are labels. Attempting to relegate or otherwise classify the act of “labeling” as something impractical or inane is itself a ridiculous and self-defeating. We need labels to communicate effectively. True some labels do not adequately communicate their intended use, and may be quite general in utility. That’s why we have so many of them – to drill down to the specifics – to gain an understanding of that which we are trying to identify.
Sounds extremist to me, particularly considering how wide-ranging a generalization it is. After all isn't referring to yourself as "polyamorous", in itself, an act of applying a label? Isn't your own name a capitalized label? And there are many other identifying labels that you own i.e. your species, ethnicity, nationality, and heritage affiliation, to name just a few.
Some of these labels we choose, others are applied to us, and though we have no practical choice about their application (can't tell people what to think or say), we may deny our ownership of them. However, what purpose would it serve for me to deny that I am all of the adjective labels that describe or identify who I am? It wouldn't change the fact if the adjective is accurate. The quoted statement implies that by choosing other labels for myself i.e. husband, friend, lover, atheist, liberal, etc., I am somehow alienating myself from another chosen label (polyamorous in this case)? No, the quote is a flamboyant generalization.
Labels (whether applied to us or made by choice) are tools of identification. Identity is a fundamental concept of communication, consequently so are labels. Attempting to relegate or otherwise classify the act of “labeling” as something impractical or inane is itself a ridiculous and self-defeating. We need labels to communicate effectively. True some labels do not adequately communicate their intended use, and may be quite general in utility. That’s why we have so many of them – to drill down to the specifics – to gain an understanding of that which we are trying to identify.
Saturday, July 12, 2014
Civil Disobedience
A system of laws established by the democratic process (the majority rules) by its very definition permits and and indeed, even promotes the persecution of minorities. In 1848 Henry David Thoreau wrote a treatise on government entitled "Civil Disobedience" in which he asserts that governments are typically more harmful than helpful. This may be more accurate now than then. It is not desirable to cultivate a respect for the law, but rather for justice.
The only obligation which I have a right to assume is to do at any time what I think right... Law never made men a whit more just; and, by means of their respect for it, even the well-disposed are daily made the agents of injustice. ~ Thoreau
Monday, December 23, 2013
Novel First Page Essentials
I have rewritten the first page 10 times - so far. Sound familiar? Good. Then you already understand the importance of a novel’s first page, and you could not be more right. Readers, editors, and agents alike are moved to the next page by the first one.
The first line should get the ball rolling with a mighty shove. You don’t get a second chance to make a first impression. The first few lines should render a promise, pose a question, introduce conflict, or use some other such literary mechanism (the hook) that will inspire the reader to want to keep reading.
You cannot write for every individual on the planet, but to give your first page it's best chance at keeping your reader interested, you might want to employ these elements and techniques:
Context within the action provides the reader with a sense of setting - where and when the story is taking place. Providing context for the action by identifying the setting establishes reader orientation and perspective. A reader who has to reread to get their bearing may lose enthusiasm for your story.
Generally your protagonist should make an appearance on the first page, and as with any character introduction, you should reveal their core characteristics. Introduce your characters with action. Describing what a character is doing or how they are reacting to a situation reveals aspects of their personality. Engaging characterization invokes reader feelings for the main character. Stated simply, we love to love our protagonist and loathe the antagonist. Characteristics such as clothing style, or an unusual physical condition are good characterization builders. The reader doesn't need to know details such as hair/eye color, height, and weight from page one (unless such details are critical to the current action).
A narrative hook is a literary technique used to engage or escalate reader interest. Common forms of a narrative hook are dramatic action, mysterious settings, interesting characterization, an engaging thematic statement, or a combination thereof. A narrative style known as in medias res, (“into the middle”) in which story-telling begins at a midpoint, rather than the beginning, can be used to hook the reader. Of these techniques, dramatic action or a combination of dramatic action and interesting characterization, are almost ubiquitous in fiction novel writing. Dramatic action invokes reader curiosity about what the consequences of the action will be.
The narrative hook may consist of several paragraphs, or several pages, but ideally, hooking elements will be included in first sentence. Hooking content is most effective if it is the focus of something important, particularly if it involves a major (or very interesting) life event: relationship, separation, employment, dismissal, sex or the refusal of sexual favors, survival, physical danger, death, and so on.
Using these essential story-telling techniques, you will have provided the reader with an interest in seeing what happens next. As readers reach the bottom of the page, hopefully they will be eager to turn to the next one.
Here is an example first page that fits on A5 size (from the first draft of my first novel) in its own 11th draft form. Decide for yourself whether if satisfies the qualities I have described, and leave a comment to let me know if by the time you finished reading, you wanted to read more.
Chapter 1
Here are some links to articles discussing first line, first page, and first chapters …
How To Write The First Sentence
Grab The Reader From Page One
Introducing Your Protagonist
Storyville: Narative Hooks
The 3 C’s of Writing The First Page of Your Novel
The First Chapter of Your Novel
Cheers, and happy writing!
The first line should get the ball rolling with a mighty shove. You don’t get a second chance to make a first impression. The first few lines should render a promise, pose a question, introduce conflict, or use some other such literary mechanism (the hook) that will inspire the reader to want to keep reading.
You cannot write for every individual on the planet, but to give your first page it's best chance at keeping your reader interested, you might want to employ these elements and techniques:
- provide an image or feeling of setting (context within the action)
- introduce your main character
- capture the reader’s attention with a narrative hook
Context within the action provides the reader with a sense of setting - where and when the story is taking place. Providing context for the action by identifying the setting establishes reader orientation and perspective. A reader who has to reread to get their bearing may lose enthusiasm for your story.
Generally your protagonist should make an appearance on the first page, and as with any character introduction, you should reveal their core characteristics. Introduce your characters with action. Describing what a character is doing or how they are reacting to a situation reveals aspects of their personality. Engaging characterization invokes reader feelings for the main character. Stated simply, we love to love our protagonist and loathe the antagonist. Characteristics such as clothing style, or an unusual physical condition are good characterization builders. The reader doesn't need to know details such as hair/eye color, height, and weight from page one (unless such details are critical to the current action).
A narrative hook is a literary technique used to engage or escalate reader interest. Common forms of a narrative hook are dramatic action, mysterious settings, interesting characterization, an engaging thematic statement, or a combination thereof. A narrative style known as in medias res, (“into the middle”) in which story-telling begins at a midpoint, rather than the beginning, can be used to hook the reader. Of these techniques, dramatic action or a combination of dramatic action and interesting characterization, are almost ubiquitous in fiction novel writing. Dramatic action invokes reader curiosity about what the consequences of the action will be.
The narrative hook may consist of several paragraphs, or several pages, but ideally, hooking elements will be included in first sentence. Hooking content is most effective if it is the focus of something important, particularly if it involves a major (or very interesting) life event: relationship, separation, employment, dismissal, sex or the refusal of sexual favors, survival, physical danger, death, and so on.
Using these essential story-telling techniques, you will have provided the reader with an interest in seeing what happens next. As readers reach the bottom of the page, hopefully they will be eager to turn to the next one.
Here is an example first page that fits on A5 size (from the first draft of my first novel) in its own 11th draft form. Decide for yourself whether if satisfies the qualities I have described, and leave a comment to let me know if by the time you finished reading, you wanted to read more.
Chapter 1
My usual morning begins with smacking the snooze-button of my alarm clock-radio some number of times until being awake doesn't feel so utterly hateful. The antics of the morning talk-show filters past my resistance to waking and reels me into a groggy giggle; not a wholly unpleasant way to start a morning actually. The anticipation of my first cup of coffee motivates me to move my feet from under warm covers to the cold hardwood floor. But this morning, the last of my nocturnal adventures dissolved peacefully with the onset of consciousness and the dawning perception of traffic noise from the street below my window. The air in my room reeked of old coffee that sat too long on the burner – not the pot of joy it would have been two hours before. The clock-radio was silently flashing its bright red digits. Kicking and throwing covers in the air, I scrambled to my feet and hit the cluttered bedroom floor running. I skipped over boots, books, and what-not as I headed for the bedroom door that opened to the hallway.
There was no sight or sounds of roommates downstairs, and the bathroom door at the end of the hall was open. I gathered up my jeans, sniffed out the cleanest shirt, and quickly skip-walked in my T-shirt and boy’s briefs across the creaky hallway floor. I had no idea what time it was, but judging by the volume of traffic noise outside, I made the logical presumption that I would be late.
* * *
Here are some links to articles discussing first line, first page, and first chapters …
How To Write The First Sentence
Grab The Reader From Page One
Introducing Your Protagonist
Storyville: Narative Hooks
The 3 C’s of Writing The First Page of Your Novel
The First Chapter of Your Novel
Cheers, and happy writing!
Wednesday, December 18, 2013
Fast Breaking
I do love early mornings. I wake hours before the sun begins its daily run across the sky; don the seasonally appropriate exercise apparel, climb high to nowhere on the Stairmaster, or jog down the long country road from my cabin to the state highway some 6 miles there and back. I start the coffee brewing on my return from the run (or stepping down from nowhere), then shower. All this is leading to the oracle event of all mornings - breakfast. On work-week days I typically break my nocturnal fast with a few hundred calories in the form of hot oatmeal, orange juice, and toast. But it is the weekend days that receive my homage and devotion to the morning meal.
On these fine weekend days, breakfast will include the delicious animal calories and fat that I avoid polluting my arteries with during the week. I can think of no way better to start the weekend morning with brisk exercise, a refreshing shower and subsequent hot cup of coffee, followed by an enormous caloric intake of animal proteins and lipids: scrambled eggs, sausage, bacon, hash-brown potatoes made in bacon grease, and biscuits with real butter, marmalade or real maple syrup. And nothing gives a house the smell of home like the aroma of sizzling bacon.
Happy fast breaking!
On these fine weekend days, breakfast will include the delicious animal calories and fat that I avoid polluting my arteries with during the week. I can think of no way better to start the weekend morning with brisk exercise, a refreshing shower and subsequent hot cup of coffee, followed by an enormous caloric intake of animal proteins and lipids: scrambled eggs, sausage, bacon, hash-brown potatoes made in bacon grease, and biscuits with real butter, marmalade or real maple syrup. And nothing gives a house the smell of home like the aroma of sizzling bacon.
Happy fast breaking!
Wednesday, November 6, 2013
Plot Development
A plot is a series of linked events concerning a character who wants to acquire or achieve a goal that will be challenging to obtain. Each event should make a difference, or significantly relate to a subsequent event. If a particular significant event has no effect on the story line the event should probably not be part of the story. For example: Jane and John are in love, but John cheats on Jane. Jane finds out and dumps John. John stalks Jane. Jane gets restraining order on John… and so on. Optimally, the events should reach a satisfactory conclusion (John is arrested for violating the restraining order).Also, events should escalate in ‘interest factor’ from one to the next, up to climactic point or resolution.
The story revolves around a protagonist. Other characters are antagonists at best, or collateral players. If the story is told from multiple viewpoints (switching viewpoint between Jane and John) then there are two plots. Plot one is represented from Jane’s viewpoint – wanting a monogamous love relationship. Plot two is represented from John’s viewpoint - wanting Jane as his main squeeze, but free to play the field as well. If the story were told from the single viewpoint of Jane, the story would have only one plot.
So essentially a plot is about a character who wants something (to win the heart of his/her affection, to be an astronaut, earn back a lost reputation, or evade the law). The goal should not be an abstract concept. If the protagonist wants to “get rich fast”, the goal should be building the next great dot-com website or robbing a bank. The goal shouldn't be something simple or without opposition. Opposition can be an antagonist who wants to stop the protagonist for whatever reason, or some physical obstacle, or some internal – emotional strife, or mental/behavioral disorder to overcome.
The plot should have a beginning, a middle, and an ending. The beginning presents the protagonist’s goal, the middle describes the effort toward achieving the goal, and the end reveals whether the goal is achieved or not and reveals how the goal has changed the protagonist or his/her circumstance. If nothing has changed about the protagonist’s life or circumstance, the story may have been a theme that demonstrates the futility of whatever the goal may have been, but such an ending be very difficult to portray to the reader. A novel may have a series of such plots or subplots. If it does, each new protagonist goal should be more engaging than the previous goal, or at least as interesting, and generally the most engaging and interesting goal should be the last one.
The story revolves around a protagonist. Other characters are antagonists at best, or collateral players. If the story is told from multiple viewpoints (switching viewpoint between Jane and John) then there are two plots. Plot one is represented from Jane’s viewpoint – wanting a monogamous love relationship. Plot two is represented from John’s viewpoint - wanting Jane as his main squeeze, but free to play the field as well. If the story were told from the single viewpoint of Jane, the story would have only one plot.
So essentially a plot is about a character who wants something (to win the heart of his/her affection, to be an astronaut, earn back a lost reputation, or evade the law). The goal should not be an abstract concept. If the protagonist wants to “get rich fast”, the goal should be building the next great dot-com website or robbing a bank. The goal shouldn't be something simple or without opposition. Opposition can be an antagonist who wants to stop the protagonist for whatever reason, or some physical obstacle, or some internal – emotional strife, or mental/behavioral disorder to overcome.
The plot should have a beginning, a middle, and an ending. The beginning presents the protagonist’s goal, the middle describes the effort toward achieving the goal, and the end reveals whether the goal is achieved or not and reveals how the goal has changed the protagonist or his/her circumstance. If nothing has changed about the protagonist’s life or circumstance, the story may have been a theme that demonstrates the futility of whatever the goal may have been, but such an ending be very difficult to portray to the reader. A novel may have a series of such plots or subplots. If it does, each new protagonist goal should be more engaging than the previous goal, or at least as interesting, and generally the most engaging and interesting goal should be the last one.
Tuesday, July 23, 2013
The Lighter Side of Apathy
I had to Google "the royal baby" to see why this phrase had crossed my computer screen more than a few times over the last couple of days. On finding information on the "royal" nativity, the breadth of my general apathy grew. The litany of "news" items for which I lament having wasted time on just reading the headline is enormous - but not normally, only today as I verified the justification of and for my apathy. Just to name a few...
Apathy, according to Wikipedia is "a state of indifference, or the suppression of emotions such as concern, excitement, motivation and passion". This sounds pretty serious, but still, I find that the proposition does not motivate any measure of concern in me. My absence of interest in emotional, social, spiritual, philosophical, and political matters is not what my apathy is about. I am apathetic about your emotional, social, spiritual, philosophical, and political concerns - unless your concerns somehow directly affect me. And I am apathetic about the inconsequential personal activities of politicians, celebrities, my neighbors, my neighbors kids and pets. I am a lot more concerned about dog poop in the park than I am about anything the Prince, the Pope, Presidents, and Pop-stars may or may not be doing in their personal lives, and very very little about what they are doing publicly.
According to "positive psychology", my apathy may be a result of feeling that I do not possess the level of skill required to confront a challenge, but in fact I am probably over-optimistic about my abilities. The truth is that I really just don't care about those aspects of other people's lives. And there are more things for which a fuck I do not give.
By definition, I may lack a sense of purpose or meaning in my life, to wit I respond; So what? Some may feel that I exhibit insensibility and/or insensitivity, and their observations would be accurate on many levels, but still, I continuously and consistently could not care less.
- Mayor Anthony Weiner acknowledged messages between himself and a woman not his wife...
- VA Gov. Robert McDonnell announced repayment to Star Scientific...
- Pope Francis' push to bring the papacy to the streets...
- Europe's decision to blacklist Hezbollah...
- Starbucks teams with French-based Danone to create a Greek yogurt...
- Netflix aims to craft 'House of Cards' into 'Harry Potter' hit...
These were "top stories"!
According to "positive psychology", my apathy may be a result of feeling that I do not possess the level of skill required to confront a challenge, but in fact I am probably over-optimistic about my abilities. The truth is that I really just don't care about those aspects of other people's lives. And there are more things for which a fuck I do not give.
By definition, I may lack a sense of purpose or meaning in my life, to wit I respond; So what? Some may feel that I exhibit insensibility and/or insensitivity, and their observations would be accurate on many levels, but still, I continuously and consistently could not care less.
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