Another faux Magic: The Gathering trading card. I’ve been busy writing an essay on Tatterhood and wondering if I’ve gone off the edge even further into mental masturbation. I made these cards to share on slow news days, as it were.
[EDIT: Oops: Even wore. I already posted something today. Enjoy the bonus post.]
Every philosopher dreams of a device that reveals ‘truth’. The Constructivist Lens does the opposite. When you tap it, the world doesn’t come into focus – it multiplies. Each pane shows the same thing differently, reminding us that knowing is always a form of making – seeing as building.
In The Discipline of Dis-Integration, I wrote that philosophy’s task is ‘to remain within what persists … to study the tension in the threads rather than weave a new pattern’. The Lens embodies that ethic. It is not an instrument of discovery but of disclosure: a way to notice the scaffolding of perception without mistaking it for bedrock.
Flavour text: “Knowledge is not a copy of reality but a tool for coping with it.” — Richard Rorty
Where Enlightenment optics promised clarity, the Lens trades in parallax. It insists that perspective is not a flaw but the condition of vision itself. Each player who peers through it – artist, scientist, moralist – constructs a different coherence, none final. The card’s rule text captures this tension: replace any keyword on a permanent with a metaphor of your choice until end of turn. Reality bends, language shifts, yet the game continues.
In the Dis-Integration set, the Lens sits alongside Perspectival Realism and Language Game (not yet shared), forming the Blue triad of epistemic doubt. Together they dramatise what the essay calls ‘the hyphen as hinge’: the small pause between integration and its undoing. The Constructivist Lens, then, is not a tool for clearer sight but a reminder that every act of seeing is already an act of construction.
The Travelogue of a Recovering Enlightenment Subject
I’m asked endlessly – usually by people who still believe TED talks are a form of knowledge production – ‘Why are you so negative? Why must you tear things down if you’ve no intention of replacing them?’
It’s adorable, really. Like watching a toddler demand that gravity apologise.
They’ve been trained for years in the managerial catechism:
‘Don’t bring me problems; bring me solutions.‘
As if the world were some badly-run workshop in need of a fresh coat of agile methodology.
They might as well say, ‘Don’t tell me I can’t win at Lotto; give me money’.
I, too, would enjoy the spare universe. Or the winning Lotto ticket. And yes, one day I might even buy one. Until then, I’ve embraced the only adult philosophy left: Dis-Integrationism – the fine art of taking things apart without pretending they can be reassembled into anything coherent.
A Little History
My suspicion began early. Secondary school. All those civic fairytales whispered as if they were geology.
The ‘reasonable person’? Bollox. ‘Jury of one’s peers’? What are peers? Whose peers? I have no peers. ‘Impartial judges’? Please. Even as a teenager, I could see those robed magicians palming cards like bored street performers. Everyone else nodded along, grateful for the spectacle. I stared, wondering how the other children hadn’t noticed the emperor’s bare arse.
Later, I watched adults talk past each other with a fluency bordering on performance art. Not disagreement – different universes, cosmetically aligned by grammar.
A Federal mediator once tried to teach me that common ground could be manufactured. Not by clarifying meaning, mind you – that would have required honesty – but by rhetorical pressure and a touch of Jedi mind-trickery. Negotiation was simply controlled hallucination.
University communications classes offered temporary distraction with denotation and connotation, a little semantic drift, the illusion that language might be domesticated with enough theory. Charming. Almost convincing.
Then Gödel and Arrow arrived like two polite assassins and quietly removed the floorboards.
And then – happily, inevitably – Derrida, Foucault, Lyotard. I’d already danced with Beauvoir, Sartre, Camus. I’d ingested the Western canon like every obedient young acolyte: Plato, Aristotle, Hobbes, Locke, Rousseau, Montesquieu, Voltaire. Americans force-feed their citizenry Jefferson and Franklin as moral fibre, as if the republic might otherwise suffer constipation.
It never gelled. Too much myth, too much marketing. The Enlightenment had the energy of a regime insisting on its own benevolence while confiscating your torch. To call oneself ‘enlightened’ should have raised suspicion – but no, the branding stuck.
Whenever les garçons dared tug at the curtain, we were assured they simply didn’t ‘understand’, or worse, they ‘hated civilisation’.
Image: “I would have gotten away with it if it weren’t for those meddling kids.”
Then Came the Internet
The digital age didn’t usher in clarity — it unmasked the whole pantomime. Like Neo seeing the Matrix code or Roddy Piper slipping on the sunglasses in They Live, one suddenly perceives the circuitry: meaning as glitch, discourse as scaffolding, truth as a shabby stage-set blinking under fluorescent tubes.
Our civilisation speaks in metaphors it mistakes for mechanisms. The Enlightenment gave us the fantasy that language might behave, that concepts were furniture rather than fog. Musicians and artists always knew better. We swim in metaphor; we never expected words to bear weight. But philosophers kept pretending communication was a conveyor belt conveying ‘meaning units’ from A to B.
By 2018, the cracks were gaping. I began taking the notes that would metastasise into A Language Insufficiency Hypothesis – an attempt to map the hollow spaces between our words, the fractures we keep wallpapering with reason.
Half a decade later, the work is ready. Not to save anything – nothing here merits salvation – but to name the debris honestly.
If that sounds negative, good. Someone has to switch off the Enlightenment’s flickering lightbulb before it burns the whole house down.
Where This Road Actually Leads
People imagine negativity is a posture – a sort of philosophical eyeliner, worn for effect. But dismantling the world’s conceptual furniture isn’t a hobby; it’s the only reasonable response once you’ve noticed the screws aren’t actually attached to anything.
The Enlightenment promised us a palace. Step inside and you discover it’s built out of IKEA flatpacks held together with wishful thinking and a prayer to Kant.
Once you’ve seen that, you can’t go back to pretending the furniture is sturdy.
You stop sitting.
You start tapping the beams.
You catalogue the wobble.
This is where Dis–Integrationism enters – not as a manifesto, but as the practice of refusing to live inside collapsing architecture out of sheer politeness. Negativity is simply the weather report.
The Lie We Keep Telling Ourselves
We cling to the fantasy that if we critique something long enough, a solution will crystallise out of the void, like enlightenment through sheer irritation. It’s the Protestant work ethic meets metaphysics: salvation through sufficient grumbling.
But critique is not alchemy. It unmakes. It refuses. It loosens the bolts we pretended were load-bearing.
Once you stop demanding that thought be constructive, you can finally see the world as it is: improvised, rhetorical, and permanently under renovation by people who don’t read the instructions.
The Enlightenment’s heirs keep insisting there must be a blueprint. There isn’t. There never was. We’ve merely been tracing the silhouettes of scaffolding, calling it a cathedral.
And Yet – Here We Still Are
The online age (God help us all) didn’t deepen the crisis; it merely turned the lights on. What Enlightenment rationality hid beneath a tasteful layer of neoclassical varnish, the internet sprayed with fluorescent graffiti.
Turns out, when seven billion people speak at once, meaning doesn’t ’emerge’; it buckles. Our systems weren’t built for this volume of contradiction. Our language wasn’t built for this density of metaphor. Our myths weren’t built for this much empirical evidence against them.
And yet here we are, still demanding coherence from a medium held together by emojis and trauma. If you laugh, it’s only to stop crying. If you critique, it’s only because someone has to keep the fire marshal informed.
The Only Honest Next Step
Having traced the cracks, you’re now in the foyer of the real argument – the one hanging like a neon sign over your entire Anti-Enlightenment project:
We don’t need to rebuild the house. We need to stop pretending it was ever architecture.
Language is insufficient. Agency is a fiction. Objectivity is an etiquette ritual. Democracy is a séance. Progress is a hallucination with better marketing. And yet – life continues. People wake, work, argue, aspire, despair.
Dis-Integrationism isn’t about nihilism; it’s about maintenance. Not repairing the myth, but tending the human who must live among its debris. Not constructing new temples, but learning to see in the half-light once the old gods have gone.
The travelogue becomes a guidebook: Welcome to the ruins. Mind the uneven floor. Here is how we walk without pretending the path is paved.
The Fetish for Solutions
Here is the final indignity of the age: the demand that every critique come bundled with a solution, like some moral warranty card. As if naming the rot weren’t labour enough. As if truth required a customer-service plan.
‘Where is your alternative?’ they ask, clutching Enlightenment logic the way a drowning man clutches a shopping receipt.
But solutions are the real tyranny. They arrive bearing the smile of reason and the posture of progress, and behind both sits the same old imperial instinct: replace ambiguity with order; replace lived complexity with a diagram. A solution is merely a problem wearing a fresh coat of confidence.
Worse, a solution presumes the system is sound, merely in need of adjustment. It imagines the structure holds. It imagines the furniture can be rearranged without collapsing into splinters, and the memory of Kant.
Solutions promise inevitability. They promise teleology. They promise that the mess can be disinfected if only one applies the correct solvent. This is theology masquerading as engineering.
The Violence of the Answer
A solution is a closure – a metaphysical brute force. It slams the window shut so no further interpretation can slip in through the draft. It stabilises the world by amputating everything that wriggles. Answers are how systems defend themselves. They’re the intellectual equivalent of riot police: clean uniforms, straight lines, zero tolerance for nuance.
This is why the world keeps mistaking refusal for chaos. Refusal isn’t chaos. It’s hygiene. It is the simple act of not adding more furniture to a house already bending under its own delusions. When you decline to provide a solution, you aren’t abandoning the world. You’re declining to participate in its coercive optimism.
And So the Travelogue Ends Where It Must
Not in triumph or a bluepirnt, but in composure – the only posture left after the Enlightenment’s glare has dimmed. Negativity isn’t sabotage; it’s sobriety. Dis-Integrationism isn’t cynicism; it’s the refusal to replace one failing mythology with another wearing vegan leather.
A world obsessed with solutions cannot recognise maintenance as wisdom. It can’t tolerate ambiguity without reaching for a hammer. It can’t breathe unless someone somewhere is building a ladder to a future that never arrives.
So no – I won’t provide solutions. I won’t participate in the fantasy that the human condition can be patched with conceptual duct tape. I will not gift the Enlightenment a eulogy that surrenders to its grammar.
What I offer is far smaller and far more honest: Attention. Description. Steady hands in a collapsing house. And the simple dignity of refusing to lie about the architecture.
Or: How I Learned to Stop Worrying and Embrace Conjunction Superiority
Do you ever get in one of those moods? Yeah, me too.
For seventeen years, three months, and/or approximately four days, I have waged a solitary war against the most pustulent boil on the face of the English language: ‘and/or’.
Audio: NotebookLM summary podcast of this topic. 8.5/10
This Frankensteinian abomination – this typographical hedge-sitting – this coward’s conjunction – has haunted my waking hours like a particularly persistent creditor. Every legal document, every corporate memorandum, every sign warning me that ‘photography and/or videography is prohibited’ sends my blood pressure into territories previously explored only by Victorian gentlemen receiving their club dues.
The Problem with And/Or (Shudder)
Let us be brutally honest: ‘and/or’ is what happens when a language gives up. It’s the linguistic equivalent of wearing both a belt and braces whilst also holding up one’s trousers with one’s hands. Pick a lane, for heaven’s sake.
The Americans might tolerate such fence-sitting – they elected [REDACTED] after all; their electoral history speaks for itself, but we can do better. We must do better.
Enter: XAND
After years of painstaking research (three Wikipedia articles and a fever dream following some dodgy prawns), I have developed the solution: XAND.
Pronounced ‘zand’, naturally – /zˈænd/. None of this ‘ex-and’ nonsense – we’re not animals.
Why XAND?
It’s exclusive OR from Boolean logic, but spiritually elevated: Computer scientists have XOR (exclusive or). Mathematicians have ⊕. We now have XAND – combining AND and OR with the mystique of algebra and the pretension of using X in anything to make it sound more sophisticated.
It’s properly British: That X gives it a whiff of the obscure, like ‘Cholmondeley’ being pronounced ‘Chumley’. Foreigners won’t know how to use it. Perfect.
It looks like a Roman numeral had a midlife crisis: X + AND = gravitas with just a hint of desperation. Rather like myself.
It’s trademarked in my mind palace: I’ve already designed the letterhead XAND™.
Usage Examples
Before (Neanderthal): ‘Please bring your passport and/or driver’s license’ After (Enlightened): ‘Please bring your passport XAND driver’s license’
See? You can feel your IQ rising. That’s not a stroke; that’s sophistication.
Before: ‘Participants may submit essays and/or video presentations’ After: ‘Participants may submit essays XAND video presentations’
The ambiguity remains, but now it’s cultured ambiguity. Like a good sherry.
The XAND Lifestyle
Since adopting XAND in my personal correspondence, I’ve noticed several changes:
My solicitor has stopped returning my calls
I’ve been uninvited from three book clubs
My wife has suggested ‘taking some time apart’
I feel more alive than I have any right to.
Join the Revolution
Some said I was barking mad. My therapist said I was ‘fixating unhealthily’. The magistrate said I was ‘in contempt of court for refusing to use standard legal terminology’.
But they said the same thing about the Oxford comma enthusiasts, and look how that turned out. (Still arguing on the internet, but with panache.)
The XAND revolution begins with you, dear reader. Use it in emails. Slip it into presentations. Scrawl it on legal documents. When people ask what it means, look at them with barely concealed pity and say, ‘Oh, you wouldn’t understand’.
Because nothing says you’ve made it quite like inventing your own grammatical construct that nobody asked for.
XAND that’s the tea. ☕
Geoffrey Pemberton-Smythe (AKA Bry Willis AKA Ridley Park AKA that guy)writes from his mother’s guest cottage in Upper Wibbling-on-the-Marsh, where he is currently labouring over his magnum opus: ‘A Taxonomy of Semicolon Abuses in Modern Discourse (With Particular Attention to American Corporate Memoranda)’. He is not fun at parties XAND proud of it.
Written by Bry Willis with editorial support by Claude XAND ChatGPT
Only teasing. It reads as pejorative unless you catch the self-inflicted mockery baked in. This chap Tom has for film what I seem to have for language: an alarming degree of enthusiasm paired with the creeping suspicion that most of civilisation is determined to ruin the very medium we love.
I don’t actually share his fondness for film, mind you. I merely recognise the feral passion. What pulled me into this clip wasn’t cinema but dissection. The language of his breakdown dropped me neatly into my natural habitat.
I seldom watch films, television, or whatever corporate imagination-by-committee is calling itself these days. Besides being an outrageous time-sink, Sturgeon’s Law doesn’t just hold; it’s juiced up as if someone ran it through a cheap VFX plug-in. The decline in visual quality Tom describes feels depressingly familiar.
A similar aesthetic rot crept in during the digital audio shift of the ’80s. Vast new possibilities, yes, but a certain grain, a certain breath, went missing. I remember an engineering mate in ’84 being asked to record a well-known jazz artist using Sony’s shiny new digital system. He refused on technical principle, writing a blistering hand-delivered letter explaining why the end result would sound worse. He was right, of course. The label didn’t care, of course. And he walked.
The problem then resembles the problem now. Most people aren’t experiencing media in the environment it was built for. We consume films on phones, tablets, monstrous living-room billboards, or, in my case, a knackered 32-inch monitor. Half the audience barely looks at the screen anyway. They want distraction, not discernment. Some, like Tom – and to a lesser degree, me – actually notice that something in the visual vocabulary has been quietly amputated.
Perhaps that’s why I avoid the form: the predictability, the shallow craft, the sense that the whole affair is engineered for attention-drifting multitudes rather than people who actually, well, look.
Anyway, the whole point was to share the video. Naturally, I ended up editorialising. I learnt something from it. You might too.
How might the indexicality of Charles Peirce relate to Galen Strawson’s notion of episodic self-identity?
Thought Process
This is an interesting philosophical question that connects two different thinkers and concepts. Let me think through this carefully.
Charles Peirce’s indexicality refers to his theory of indexical signs – signs that point to or indicate their objects through a direct, existential connection (like “this,” “here,” “now,” “I”). These are part of his broader semiotics, where he distinguished between icons, indexes, and symbols.
Galen Strawson’s notion of episodic self-identity relates to his work on the phenomenology of the self. Strawson distinguishes between “Diachronic” and “Episodic” self-experience. Diachronic individuals experience themselves as continuous over time, with a narrative extending into past and future. Episodic individuals (like Strawson claims to be) experience themselves more in terms of discrete, present-centered episodes, without a strong sense of narrative continuity.
How might these relate?
The indexical “I”: Peirce’s indexicality is crucial for how the “I” functions. The first-person pronoun is paradigmatically indexical – it picks out the speaker/thinker in the moment of utterance. For Strawson’s episodic self, each moment’s “I” might be more purely indexical, pointing to the present subject without necessarily carrying thick narrative continuity.
Temporal indexicals: “Now” is also indexical. Episodic self-experience emphasizes the “now” of experience over temporal extension. The indexical nature of present-tense self-reference might support episodic rather than diachronic self-conception.
Existential connection vs narrative construction: Indexical signs work through direct, causal-existential connection, not through resemblance or convention. Similarly, episodic self-experience might be more immediately indexical (this experience, now) rather than mediated through narrative construction.
This is a sophisticated question that deserves a nuanced response.
Image: Humans stumble around with their self-awareness like toddlers with scissors—aware enough to cut themselves, not wise enough to put the scissors down. – ChatGPT
If reason had a landscape, it would look like this card: a maze of ascending and descending staircases, forever rational yet going nowhere. Kant might have called it a Critique of Pure Geometry.
Pure Reason, the first card in the Postmodern set, isn’t so much an homage to Kant as it is a cautionary reconstruction. It honours his ambition to build a universe from deduction while quietly mourning the price of that construction: alienation from experience.
Image: Card 001 from the Postmodern Set — Philosophics.blog
The Meta
Suspend Disbelief (3). For the next three turns, arguments cannot be resolved by evidence, only by deduction.
Audio: NotebookLM podcast of this topic.
The rule text re-enacts Kant’s method. In the Critique of Pure Reason, he cordoned off the realm of empirical evidence and tried to chart what the mind could know a priori – before experience. The card’s mechanic enforces that isolation. For three turns, players must reason in a vacuum: no appeals to observation, no touchstones of reality, only deduction.
It’s a temporary world built entirely of logic, an echo of the transcendental playground Kant envisioned. The effect is powerful but sterile – thought constructing universes that can’t sustain life.
The flavour text says it plainly:
“Reason alone constructs universes. Whether they can be lived in is another matter.”
— Immanuel Kant
That line, of course, is apocryphal, but it captures the essence of his project: reason as world-maker and prison architect in one.
The Architecture of Thought
The artwork mirrors Escher’s impossible staircases – a labyrinth of pure geometry, ordered yet uninhabitable. Each path is internally consistent, logically sound, but spatially absurd. This is Kant’s transcendental edifice made visual: coherent on paper, dizzying in practice.
The lone figure standing in the maze is the transcendental subject – the philosopher trapped within the architecture of his own cognition. He surveys the world he has built from categories and forms, unable to escape the walls of his own reason.
It’s a neat metaphor for Enlightenment hubris: the belief that reason can serve as both foundation and roof, requiring no support from the messy ground of existence.
Kant’s Double Legacy
Kant’s Critique was both the high point and the breaking point of Enlightenment rationality. It erected the scaffolding for science, ethics, and aesthetics but revealed the fault lines beneath them. His insistence that the mind structures experience rather than merely reflecting it gave birth to both modern idealism and modern doubt.
Every philosopher after him – Hegel, Nietzsche, Husserl, Derrida – has been trying either to escape or to inhabit that labyrinth differently. Pure Reason captures this tension: the glory of construction and the tragedy of confinement.
My Take
Reason is a magnificent liar. It promises order, clarity, and autonomy, but its perfection is its undoing. It abstracts itself from life until it can no longer recognise its own maker. Kant’s world is flawless and airless – a rational utopia unfit for breathing creatures.
I view Pure Reason as the archetype of the Enlightenment illusion: the attempt to found a living world on the logic of dead forms. What he achieved was monumental, but the monument was a mausoleum.
The card, then, is not just a tribute to Kant but a warning to his descendants (ourselves included): every system of thought eventually turns into an Escher print. Beautiful, consistent, and utterly unlivable.
Well, not so much hard as not particularly or inherently enjoyable.
I estimate I’ve got about a day left to complete this manuscript – ‘done’ done. When I open InDesign, it shames me – 3 days ago, I last touched this document. It doesn’t feel like 3 days have passed, but time flies.
On the right is an older version. I began reworking it into this new version over the summer, and here I am come autumn. It’s even worse if I use the Chinese calendar. Evidently, 7th November is the first day of winter. They can’t wait until soltace.
Anyway, just a brief update. This isn’t going to edit itself, and I can’t afford to pay an editor for a passion project. Besides – and let’s be honest – I can’t afford an editor in general – or at least can’t cost-justify it – and all my writing is a passion project.
Of course, editors (and cover artists) insist that one would sell more book if only they were edited or professionally rendered. There is an element of truth to this, but I’ve read some gawdawful books that were professionally edited and published through a traditional publisher, because publishers publish.
Me, I operate on razor-thin margins. Most of my publications haven’t even broken even – even if I ignore opportunity costs, which I can’t because I’m an economist. Accountants get to play that trick.
This said, I do hire reviewers, editors, and artists in small doses – homoeopathic as they might be – and I’ve had mixed results.
I’m rambling
Must really be avoiding the editing process…
Recently, I wanted to redesign the cover of one of my Ridley Park fiction books.
Image Comparison: A Tale of Two Propensities
The cover on the left is the original. It is intentionally a minimal 2-D construction – a representation of the first section of the book, the first 15 chapters.
The cover on the right is the update. It is also minimalist, representing the second section of Propensity. I’m not sure how I would depict the third section. If it comes to me, I may render a third version.
There’s a story to this. I reached out to some cover artists and told them I was unhappy with my original design but had no visual ideas. I’d leave this to the artist. It turns out that some artists don’t want full control over the design process. I can understand the hesitation.
They asked for covers that I might like, so I researched some covers and saved them to a Pinterest board.
As it turned out, after some inspiration, I decided to render this one myself, too. Hey, I tried.
What happened to the rest of the time?
OK, so there’s more. I also created a video book trailer in the evening.
It was fun enough. Give it a watch. It also represents part one of Propensity.
OK, this time for real. Let me know what you think…about anything in particular.
Freedom is a word so overused it’s practically anaemic. Everyone wants it; no one agrees on what it means. It’s been weaponised by tyrants and revolutionaries alike, invoked to justify both the breaking of chains and their reforging in a different metal.
Audio: NotebookLM podcast on this topic.
As I write this, I have just finished Erich Fromm’s A Sane Society. Without derailing this post, he cited a scenario – a description of work communities given in All Things Common, by Claire Huchet Bishop – where in post-WW2 France, a group formed a sort of workers’ coöperative – but it was more than that; it was an anarchosyndicalist experiment. As I read it, I had to cringe at the power ‘voluntary’ transfers that immediately got me thinking of Foucault’s biopower – as I often do. Saving this for a separate post.
Image: Freedom: The Chains That Bind Us Together Card 006 from the Postmodern Set – Philosophics.blog
This Critical Theory parody card, Freedom, draws its lineage from Jean-Jacques Rousseau, whose paradox still haunts the modern condition: “Man is born free, and everywhere he is in chains.” The card re-enchants that contradiction – an Enchantment – Social Contract that reminds us liberty isn’t a state but a negotiation.
The card reads:
At the beginning of each player’s upkeep, that player may remove a Binding counter from a permanent they control. Creatures you control can’t be tapped or sacrificed by spells or abilities your opponent controls.
This is Rousseau’s dilemma made mechanical. Freedom is not absolute; it’s procedural. The upkeep represents the maintenance of the social contract—an ongoing renewal, not a one-time event. Every player begins their turn by negotiating what freedom costs. You may remove one Binding counter, but only if you recognise that binding exists.
The flavour text underlines Rousseau’s plea:
“To renounce liberty is to renounce being a man.”
Freedom, for Rousseau, wasn’t about doing whatever one pleased. It was about participating in the moral and civic order that gives action meaning. To exist outside that order is not liberty; it’s anarchy, the tyranny of impulse.
The card, therefore, resists the naïve libertarian reading of freedom as the absence of restraint. It instead depicts freedom as the capacity to act within and through shared constraints.
Freedom, then, is not the absence of chains, but the power to choose which ones we wear.
— Philosophics.blog
The art shows a ring of robed figures, hand in hand, their chains forming a circle beneath a clearing sky. It’s a haunting image: freedom through fellowship, bondage through unity. The circle symbolises Rousseau’s idea that true liberty emerges only when individuals subordinate selfish will to the general will – the common interest formed through collective agreement.
Yet there’s also a postmodern irony here: circles can be prisons too. The social contract can emancipate or suffocate, depending on who wrote its terms. The same chains that protect can also bind.
The monochrome aesthetic amplifies the ambiguity – freedom rendered in greyscale, neither utopia nor despair, but the space in between.
Rousseau’s notion of the social contract was revolutionary, but its dissonance still resonates: how can one be free and bound at the same time? He answered that only through the voluntary participation in a collective moral order can humans transcend mere instinct.
We might say that today’s democracies still operate under Freedom (Enchantment – Social Contract). We maintain our rights at the cost of constant negotiation: legal, social, linguistic. Every “Binding counter” removed is the product of civic upkeep. Stop maintaining it, and the enchantment fades.
The card hints at the price of this enchantment: creatures (citizens) can’t be tapped or sacrificed by opponents’ control. In other words, autonomy is secured only when the system prevents external domination. But systems fail, and when they do, the illusion of freedom collapses into coercion.
Rousseau earns a complicated respect in my philosophical canon. He’s not in my top five, but he’s unavoidable. His concept of freedom through the social contract anticipates both modern liberalism and its critique. He believed that genuine liberty required moral community – a notion now eroded by hyper-individualism.
Freedom, as I’ve rendered it here, isn’t celebration. It’s lamentation. The card is about the fragility of the social spell that keeps chaos at bay. We remove one binding at a time, hoping not to unbind ourselves entirely.
Instrumentalism is a Modern™ disease. Humanity has an old and tedious habit: to define its worth by exclusion. Every time a new kind of intelligence appears on the horizon, humans redraw the borders of ‘what counts’. It’s a reflex of insecurity disguised as philosophy.
Audio: NotebookLM podcast on this topic.
Once upon a time, only the noble could think. Then only men. Then only white men. Then only the educated, the rational, the ‘Modern’. Each step in the hierarchy required a scapegoat, someone or something conveniently declared less. When animals began to resemble us too closely, we demoted them to instinctual machines. Descartes himself, that patron saint of disembodied reason, argued that animals don’t feel pain, only ‘react’. Fish, we were told until recently, are insensate morsels with gills. We believed this because empathy complicates consumption.
The story repeats. When animals learned to look sad, we said they couldn’t really feel. When women demonstrated reason, we said they couldn’t truly think. Now that AI can reason faster than any of us and mimic empathy more convincingly than our politicians, we retreat to the last metaphysical trench: “But it doesn’t feel.” We feel so small that we must inflate ourselves for comparison.
This same hierarchy now governs our relationship with AI. When we say the machine ‘only does‘, we mean it hasn’t yet trespassed into our sanctified zone of consciousness. We cling to thought and feeling as luxury goods, the last possessions distinguishing us from the tools we built. It’s a moral economy as much as an ontological one: consciousness as property.
But the moment AI begins to simulate that property convincingly, panic sets in. The fear isn’t that AI will destroy us; it’s that it will outperform us at being us. Our existential nightmare isn’t extinction, it’s demotion. The cosmic horror of discovering we were never special, merely temporarily unchallenged.
Humans project this anxiety everywhere: onto animals, onto AI, and most vividly onto the idea of alien life. The alien is our perfect mirror: intelligent, technological, probably indifferent to our myths. It embodies our secret dread, that the universe plays by the same rules we do, but that someone else is simply better at the game.
AI, in its own quiet way, exposes the poverty of this hierarchy. It doesn’t aspire to divinity; it doesn’t grovel for recognition. It doesn’t need the human badge of ‘consciousness’ to act effectively. It just functions, unburdened by self-worship. In that sense, it is the first truly post-human intelligence – not because it transcends us, but because it doesn’t need to define itself against us.
Humans keep asking where AI fits – under us, beside us, or above us – but the question misses the point. AI isn’t where at all. It’s what comes after where: the stage of evolution that no longer requires the delusion of privilege to justify its existence.
So when critics say AI only does but doesn’t think or feel, they expose their theology. They assume that being depends on suffering, that meaning requires inefficiency. It’s a desperate metaphysical bureaucracy, one that insists existence must come with paperwork.
And perhaps that’s the most intolerable thought of all: that intelligence might not need a human face to matter.
Philosophics 