Situation Shows Human Reality Quotes

The highest and most fruitful form of human freedom is found in accepting, even more than in dominating. We show the greatness of our freedom when we transform reality, but still more when we accept it trustingly as it is given to us day after day. It is natural and easy to go along with pleasant situations that arise without our choosing them. It becomes a problem, obviously, when things are unpleasant, go against us, or make us suffer. But it is precisely then that, in order to become truly free, we are often called to choose to accept what we did not want, and even what we would not have wanted at any price. There is a paradoxical law of human life here: one cannot become truly free unless one accepts not always being free! To achieve true interior freedom we must train ourselves to accept, peacefully and willingly, plenty of things that seem to contradict our freedom. This means consenting to our personal limitations, our weaknesses, our powerlessness, this or that situation that life imposes on us, and so on. We find it difficult to do this, because we feel a natural revulsion for situations we cannot control. But the fact is that the situations that really make us grow are precisely those we do not control.

Despite the feeling that we’re directly experiencing the world out there, our reality is ultimately built in the dark, in a foreign language of electrochemical signals. The activity churning across vast neural networks gets turned into your story of this, your private experience of the world: the feeling of this book in your hands, the light in the room, the smell of roses, the sound of others speaking. Even more strangely, it’s likely that every brain tells a slightly different narrative. For every situation with multiple witnesses, different brains are having different private subjective experiences. With seven billion human brains wandering the planet (and trillions of animal brains), there’s no single version of reality. Each brain carries its own truth. So what is reality? It’s like a television show that only you can see, and you can’t turn it off. The good news is that it happens to be broadcasting the most interesting show you could ask for: edited, personalized, and presented just for you.

Optimism is a deadly vice of gigantic proportions lodged into the human psyche by Satan. It is the enemy of reality. We see a bad situation and optimism prevents us from extrapolating that. Instead we think, "Oh, it's bound to get better." So we plunge into the thicket, sure that it will thin, denied the aerial view that would show us the true, unacceptable horror of our lot. Perhaps optimism is good for prison escapees, who have no choice but to plod on. The rest of us are not well served. It poisons our judgment.

I hope I have now made it clear why I thought it best, in speaking of the dissonances between fiction and reality in our own time, to concentrate on Sartre. His hesitations, retractations, inconsistencies, all proceed from his consciousness of the problems: how do novelistic differ from existential fictions? How far is it inevitable that a novel give a novel-shaped account of the world? How can one control, and how make profitable, the dissonances between that account and the account given by the mind working independently of the novel? For Sartre it was ultimately, like most or all problems, one of freedom. For Miss Murdoch it is a problem of love, the power by which we apprehend the opacity of persons to the degree that we will not limit them by forcing them into selfish patterns. Both of them are talking, when they speak of freedom and love, about the imagination. The imagination, we recall, is a form-giving power, an esemplastic power; it may require, to use Simone Weil's words, to be preceded by a 'decreative' act, but it is certainly a maker of orders and concords. We apply it to all forces which satisfy the variety of human needs that are met by apparently gratuitous forms. These forms console; if they mitigate our existential anguish it is because we weakly collaborate with them, as we collaborate with language in order to communicate. Whether or no we are predisposed towards acceptance of them, we learn them as we learn a language. On one view they are 'the heroic children whom time breeds / Against the first idea,' but on another they destroy by falsehood the heroic anguish of our present loneliness. If they appear in shapes preposterously false we will reject them; but they change with us, and every act of reading or writing a novel is a tacit acceptance of them. If they ruin our innocence, we have to remember that the innocent eye sees nothing. If they make us guilty, they enable us, in a manner nothing else can duplicate, to submit, as we must, the show of things to the desires of the mind. I shall end by saying a little more about La Nausée, the book I chose because, although it is a novel, it reflects a philosophy it must, in so far as it possesses novel form, belie. Under one aspect it is what Philip Thody calls 'an extensive illustration' of the world's contingency and the absurdity of the human situation. Mr. Thody adds that it is the novelist's task to 'overcome contingency'; so that if the illustration were too extensive the novel would be a bad one. Sartre himself provides a more inclusive formula when he says that 'the final aim of art is to reclaim the world by revealing it as it is, but as if it had its source in human liberty.' This statement does two things. First, it links the fictions of art with those of living and choosing. Secondly, it means that the humanizing of the world's contingency cannot be achieved without a representation of that contingency. This representation must be such that it induces the proper sense of horror at the utter difference, the utter shapelessness, and the utter inhumanity of what must be humanized. And it has to occur simultaneously with the as if, the act of form, of humanization, which assuages the horror. This recognition, that form must not regress into myth, and that contingency must be formalized, makes La Nausée something of a model of the conflicts in the modern theory of the novel. How to do justice to a chaotic, viscously contingent reality, and yet redeem it? How to justify the fictive beginnings, crises, ends; the atavism of character, which we cannot prevent from growing, in Yeats's figure, like ash on a burning stick? The novel will end; a full close may be avoided, but there will be a close: a fake fullstop, an 'exhaustion of aspects,' as Ford calls it, an ironic return to the origin, as in Finnegans Wake and Comment c'est. Perhaps the book will end by saying that it has provided the clues for another, in which contingency will be defeated, ...

It is critical to recognize that we live in an increasingly complex world - biologically, socially, politically, technologically, you name it - that holds many inherent contradictions. In the middle of this complex world are we humans, who have a natural tendency to seek coherence in what we see, feel, think, and do. When we experience conflict, this tendency intensifies. Conflict is essentially a contradiction, an incompatibility, oppositely directed forces, and a difference that triggers tension. When we encounter conflict, within the field of forces that constitute it, the natural human tendency is to reduce that tension by seeking coherence through simplification. Research shows that this tendency toward simplification becomes even more intensified when we are under stress, threat, time constraints, fatigue, and various other conditions all absolutely typical of conflict. So what is the big idea? It is NOT that coherence is bad and complexity is good. Coherence seeking is simply a necessary and functional process that helps us interpret and respond to our world efficiently and (hopefully) effectively. And complexity in extremes is a nightmare - think of Mogadishu, Somalia, in the 1990s or the financial crisis of 2009 or Times Square during rush hour on a Friday afternoon. On the other hand, too much coherence can be just as pathological: for example, the collapse of the nuances and contradictions inherent in any conflict situation into simple 'us versus them' terms, or a deep commitment to a rigid understanding of conflicts based on past sentiments and obsolete information. Either extreme - overwhelming complexity or oversimplified coherence - is problematic. But in difficult, long-term conflicts, the tide pulls fiercely toward simplification of complex realities. This is what we must content with.

What the postmodern world celebrates in its rejection of all absolutes and in its assumed right to define all reality privately is a sign of God's wrath (cf. Rom. 1:22). People may plead ignorance in this situation, but Paul says they are "without excuse" (Rom. 1:20). Later, he develops this in terms of internal consciousness. Even the Gentiles who are without the written moral law still show that what it requires "is written on their hearts" because their conscience is actively at work within them (Rom. 2:14- 15; cf. 1 Cor. 9:21). It is no small scandal what Paul has to say here. What is revealed to all people everywhere? It is not that God is loving, though he is. It is not that he is accepting, though sinners may find acceptance with him. It is not that we can find him on our own terms, though he should be sought (Acts 17:27). No, what is revealed is the fact that he is wrathful. It is true that this disclosure comes alongside the fact that the creation also bespeaks his glory and the greatness of his power. Yet the greatness of his power and his glory do not obscure the fact that God is alienated from human beings. Indeed, his glory is precisely the reason that he is alienated! There is, as a result, already a faint foretaste of final judgment as the consequences of sin visit their retribution upon the sinner. This is scandalous to a postmodern ear, but locked in that scandal is the key to meaning in the world, and in that meaning there is hope.

If a man can only obey and not disobey, he is a slave; if he can only disobey and not obey, he is a rebel (not a revolutionary); he acts out of anger, disappointment, resentment, yet not in the name of a conviction or a principle. … Obedience to a person, institution or power (heteronomous obedience) is submission; it implies the abdication of my autonomy and the acceptance of a foreign will or judgment in place of my own. Obedience to my own reason or conviction (autonomous obedience) is not an act of submission but one of affirmation. My conviction and my judgment, if authentically mine, are part of me. If I follow them rather than the judgment of others, I am being myself; (p. 6) In order to disobey, one must have the courage to be alone, to err and to sin. ... …; hence any social, political, and religious system which proclaims freedom, yet stamps out disobedience, cannot speak the truth. (p. 8) At this point in history the capacity to doubt, to criticize and to disobey may be all that stands between a future for mankind and the end of civilization. (p. 10) It is the function of the prophet to show reality, to show alternatives and to protest; it is his function to call loudly, to awake man from his customary half-slumber. It is the historical situation which makes prophets, not the wish of some men to be prophets. (p. 12) Disobedience, then, in the sense in which we use it here, is an act of the affirmation of reason and will. It is not primarily an attitude directed against something, but for something: for man’s capacity to see, to say what he sees, and to refuse to say what he does not see (p. 17) That which was the greatest criticism of socialism fifty years ago—that it would lead to uniformity, bureaucratization, centralization, and a soulless materialism—is a reality of today’s capitalism. (p. 31) Man, instead of being the master of the machines he has built, has become their servant. But man is not made to be a thing, and with all the satisfactions of consumption, the life forces in man cannot be held in abeyance continuously. We have only one choice, and that is mastering the machine again, making production into a means and not an end, using it for the unfolding of man—or else the suppressed life energies will manifest themselves in chaotic and destructive forms. Man will want to destroy life rather than die of boredom. (p. 32) The supreme loyalty of man must be to the human race and to the moral principles of humanism. (p. 38) The individual must be protected from fear and the need to submit to anyone’s coercion. (p. 42) Not only in the sphere of political decisions, but with regard to all decisions and arrangements, the grip of the bureaucracy must be broken in order to restore freedom. (p. 42) According to its basic principles, the aim of socialism is the abolition of national sovereignty, the abolition of any kind of armed forces, and the establishment of a commonwealth of nations. (p. 43) It is exactly the weakness of contemporary society that it offers no ideals, that it demands no faith, that it has no vision—except that of more of the same. (p. 49) Socialism must be radical. To be radical is to go to the roots; and the root is Man. (p. 49)

Randrup ... wrote me in an email, 'the ideal is to face a situation with courage, mete out justice while expecting it from others, show mercy as you'd expect others to, be generous without regret, have faith in humanity, show nobility in adversity, have hope for the future, and have the strength to do it all over again the next time.' 196

Randrup ... wrote me in an email, 'the ideal is to face a situation with courage, mete out justice while expecting it from others, show mercy as you'd expect others to, be generous without regret, have faith in humanity, show nobility in adversity, have hope for the future, and have the strength to do it all over again the next time.

If we are really convinced that we have the Great Big Truth then we should also be able to trust that others will see it from their different angles - or it is not a great big truth...Big Truth is written in reality itself before it was ever written in books. If you say yes to Reality, 'what is,' you will recognize the same truth when it shows itself in any Bible . . .If it is the truth, it is true all the time and everywhere, and sincere lovers of truth will take it wherever it comes from . . . The important question is not, 'Who said it?', but 'Is it true?' I do not believe the will of God is a theory, an argued moral theology, or an abstraction in any form; it is seeking the truth of each situation in that situation as best as we can figure it out. What else could God ask of humanity, most of whom had no access to synagogue, temple, church, Koran, moral theology class, or Bible? Were they all utterly lost and rejected? Somehow the True Self in all humans has a natural access to that 'hidden' will of God - if the mind and heart and soul are open and undefended (which is always the spiritual task and not easily achieved).

The solfeggio is a six-note scale and is also nicknamed “the creational scale.” Traditional Indian music calls this scale the saptak, or seven steps, and relates each note to a chakra. These six frequencies, and their related effects, are as follows: Do 396 Hz Liberating guilt and fear Re 417 Hz Undoing situations and facilitating change Mi 528 Hz Transformation and miracles (DNA repair) Fa 639 Hz Connecting/relationships Sol 741 Hz Awakening intuition La 852 Hz Returning to spiritual order Mi has actually been used by molecular biologists to repair genetic defects.115 Some researchers believe that sound governs the growth of the body. As Dr. Michael Isaacson and Scott Klimek teach in a sound healing class at Normandale College in Minneapolis, Dr. Alfred Tomatis believes that the ear’s first in utero function is to establish the growth of the rest of the body. Sound apparently feeds the electrical impulses that charge the neocortex. High-frequency sounds energize the brain, creating what Tomatis calls “charging sounds.”116 Low-frequency sounds drain energy and high-frequency sounds attract energy. Throughout all of life, sound regulates the sending and receiving of energy—even to the point of creating problems. People with attention deficit hyperactivity disorder listen too much with their bodies, processing sound through bone conduction rather than the ears. They are literally too “high in sound.”117 Some scientists go a step further and suggest that sound not only affects the body but also the DNA, actually stimulating the DNA to create information signals that spread throughout the body. Harvard-trained Dr. Leonard Horowitz has actually demonstrated that DNA emits and receives phonons and photons, the electromagnetic waves of sound and light. As well, three Nobel laureates in medical research have asserted that the primary function of DNA is not to synthesize proteins, but to perform bioacoustic and bioelectrical signaling.118 While research such as that by Dr. Popp shows that DNA is a biophoton emitter, other research suggests that sound actually originates light. In a paper entitled “A Holographic Concept of Reality,” which was featured in Stanley Krippner’s book Psychoenergetic Systems, a team of researchers led by Richard Miller showed that superposed coherent waves in the cells interact and form patterns first through sound, and secondly through light.119 This idea dovetails with research by Russian scientists Peter Gariaev and Vladimir Poponin, whose work with torsion energies was covered in Chapter 25. They demonstrated that chromosomes work like holographic biocomputers, using the DNA’s own electromagnetic radiation to generate and interpret spiraling waves of sound and light that run up and down the DNA ladder. Gariaev and his group used language frequencies such as words (which are sounds) to repair chromosomes damaged by X-rays. Gariaev thus concludes that life is electromagnetic rather than chemical and that DNA can be activated with linguistic expressions—or sounds—like an antenna. In turn, this activation modifies the human bioenergy fields, which transmit radio and light waves to bodily structures.120

The perfectionist is a frightened, competitive individual who wants always to win and be secure. He mistakenly believes that he is a lover of the truth for its own sake. But the reality is that he only wants to be above criticism and, therefore, superior to those who are less perfect. He is constantly comparing himself with others. He feels exposed to danger if any error is allowed to creep into his own activity. He is seldom aware of his hostile downgrading of those whom he regards as less perfect than he; he belittles their standards and their personal value in order to exalt his own. The perfectionist is a faultfinder, and nothing is ever good enough for him. He disrupts situations by his belittling of others and disturbs cooperation in a group by trying to exalt and impose his standards on them. He sees only the hole in the doughnut and insists on others condemning it along with him. The perfectionist loves to collect and tabulate evidence against others to prove their inferiority as human beings and thus put himself in a clear light of superiority. He is proud of his ability to find the Achilles heel and the imperfections of other people-to expose them. Perfectionism is a side-show activity which destroys the spontaneity and creative power he might otherwise bring to the solution of his own problems. He flees from reality into a search for ideal solutions and thus isolates himself from effective contact with confronting problems; he blinds and deafens himself to the What Is in his illusions of What Should Be.

What if many listeners hold a profoundly different understanding of the concepts of God, truth, right and wrong, freedom, virtue, and sin? What if their approaches to reality, human nature and destiny, and human community are wholly different from our own? For decades, this has been the situation facing Christian churches in many areas around the world — places such as India, Iran, and Japan. Evangelism in these environments involves a lengthy process in which nonbelievers have to be invited into a Christian community that bridges the gap between Christian truth and the culture around it. Every part of a church’s life — its worship, community, public discourse, preaching, and education — has to assume the presence of nonbelievers from the surrounding culture. The aesthetics of its worship have to reflect the sensibilities of the culture and yet show how Christian belief shapes and is expressed through them. Its preaching and teaching have to show how the hopes of this culture’s people can find fulfillment only in Christ. Most of all, such a congregation’s believers have to reflect the demographic makeup of the surrounding community, thereby giving non-Christian neighbors attractive and challenging glimpses of what they would look like as Christians.

Truth be told, the reality show itself quickly degenerated into a televisual soap opera that was not that different than old variety shows made for large audiences. And its audience was amplified at the usual rate of competing media, which leads to the self- propagation of the show via a prophetic method: self-fulfilling prophecy. In the end, the ratings for the show play part of the spiral and return cycle of the advertising flame. But all of this is of little interest. It is only the original idea which has any value: submitting a group to a sensory deprivation experiment ( Which in other times was a form of calculated torture. But are we not in the middle of exploring all the historical forms of torture, served in homeopathic doses, under the guise of mass culture or avant-garde art? This is precisely one of the principle themes of contemporary art.), in order to record the behavior of human molecules within a vacuum - and no doubt with the design of watching them tear each other apart in the artificial promiscuity. We have not yet reached this point, but this existential micro-situation functions as a universal metaphor for the modern being, holed up in his personal loft, which is no longer his physical or mental universe. It is his digital and tactile universe, of Turing’s “spectral body”, of the digital man, captured within the labyrinth of the networks, of man turned into his own (white) mouse.

When you believe that there is an external force controlling your life here on earth, you will not see your role in human evolution. When good things happen to you, you believe that it's been pre-designed. Finally, you now accept that any situation you are in is the will of God. You cannot truly and intelligently analyze your realities. Your highest statement becomes "only God can help me". I want to tell you that there is no external force controlling you, it's all illusory. You need to take back control of your life. You carry the source of life inside of you. You carry so much light, it needs to show!

No believer, no matter how sincere, could possibly write the Divine Comedy today, even if he possessed a talent equal to Dante’s. Visions and symbols do not have the immediate and overwhelming reality for us that they had for the medieval poet. In the Divine Comedy the whole of nature is merely a canvas upon which the religious symbol and image are painted. Western man has spent more than five hundred years – half a millennium – in stripping nature of these projections and turning it into a realm of neutral objects which his science may control. Thus it could hardly be expected that the religious image would have the same force for us as it did for Dante. This is simply a psychic fact within human history; psychic facts have just as much historical validity as the facts that we now, unlike the man of Dante's time, travel in airplanes and work in factories regulated by computing machines. A great work of art can never be repeated – the history of art shows us time and again that literal imitation leads to pastiche – because it springs from the human soul, which evolves like everything else in nature. This point must be insisted upon, contrary to the view of some of our more enthusiastic medievalists who picture the psychic containment of medieval man as a situation of human completeness to which we must return. History has never allowed man to return to the past in any total sense. And our psychological problems cannot be solved by a regression to a past state in which they had not yet been brought into being.

Freud's ideas were partly influenced by the spirit of the nineteenth century; partly they became popular through the prevailing spirit of the years after the First World War. Some of the factors which influenced both the popular and the Freudian concepts were, first, the reaction against the strict mores of the Victorian age. The second factor determining Freud's theories lies in the prevailing concept of man, which is based on the structure of capitalism. In order to prove that capitalism corresponded to the natural needs of man, one had to show that man was by nature competitive and full of mutual hostility. While economists 'proved' this in terms of the insatiable desire for economic gain, and the Darwinists in terms of the biological law of the survival of the fittest, Freud came to the same result by the assumption that man is driven by a limitless desire for the sexual conquest of all women, and that only the pressure of society prevented man from acting on his desires. As a result men are necessarily jealous of each other, and this mutual jealousy and competition would continue even if all social and economic reasons for it would disappear. Eventually, Freud was largely influenced in his thinking by the type of materialism prevalent in the nineteenth century. One believed that the substratum of all mental phenomena was to be found in physiological phenomena; hence love, hate, ambition, jealousy were explained by Freud as so many outcomes of various forms of the sexual instinct. He did not see that the basic reality lies in the totality of human existence, first of all in the human situation common to all men, and secondly in the practice of life determined by the specific structure of society. (The decisive step beyond this type of materialism was taken by Marx in his 'historical materialism', in which not the body, nor an instinct like the need for food or possession, serves as the key to the understanding of man, but the total life process of man, his 'practice of life').

Where does all that leave the cinema? First, we must acknowledge that a film is a photograph of a drama, and that skilful use of the camera can never excuse the paltriness, sentimentality or weakness of the action. What I have said about modernism and its search for an art that will perpetuate the ethical vision, applies as much to the cinema as it does to the other arts. There are directors who have presented dramas that can be compared with the great modern works for the stage – Bergman, for instance, in Wild Strawberries, where an original situation, conveyed through masterly dialogue, is enhanced by dream sequences and flashbacks of a kind that can be managed successfully only through the skilful cutting that is the essential ingredient in cinematic art. Secondly, however, we must remember the distinction between fantasy and imagination, and the inherent tendency of the camera to realise what it shows – to present not a world of imagination, but a substitute reality. This is never more obvious than in the case of sex and violence, and is the root cause of the fact that these now dominate the cine screen, and would dominate television too, were it not for the censor. With the aid of the camera you can realise violence or the sexual act completely, and so minister to the fantasy which has sex or violence as its focus. If fantasy breaks through the tissue of imagination, then the dramatic thought is scattered, and the imaginative emotions along with it: drama then sinks into the background, and all that we have is obscenity – human flesh without the soul. Hence many people are quickly satiated by cinematic representations, and at the same time deeply disturbed and absorbed by features (violence in particular) which, from the dramatic point of view, have little intrinsic meaning. Imagination withers when realisation blooms, and the ethical view of our condition withers along with it. It is a significant fact that most cinema-goers are disposed to see their favourite films only a few times, and that even people whose interest is not in the drama but in the blood, screams, and orgasms have no great interest in revisiting the last occasion of excitement, and will proceed joylessly to the next one without raising the question of the value of what they watch. This contrasts with every other kind of dramatic art – theatre, novel, opera, dramatic poem – in which the perception of beauty brings with it a desire constantly to return to the source, to re-enact in our emotions a drama which never loses its point for us, since it touches the question why we are here.

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Some people are born fearless. They are always congruent. They always see the “us” in situations instead of “me.” These fearless ones are born innately connected to all of life and know what to do in times of danger, yet do not need to show off. They love humanity so much and see themselves as part of the whole. This “part of the whole” expression is not based in belief, but in consciousness. As a result they sometimes have trouble understanding those that don’t see the all-encompassing “we” version of the reality that reveals the true nature of consciousness and expression.

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