Reason on a Spectrum

4–6 minutes

Reason is not an oracle of truth but a spectrum-bound tool, and when it is worshipped as absolute, it curdles into pathology. True rationality knows when to temper itself, when to equivocate, and when a kind lie is wiser than a cold fact.

Reason and rationality are the household gods of modernity. We light incense to them daily: follow the science, be reasonable, act rationally. But before we genuflect, it’s worth asking what exactly we mean. By reason, I mean the faculty of inference – spotting contradictions, tracing causes. By rationality, I mean the practice of applying that faculty toward some end. That’s all. Nothing mystical.

Audio: NotebookLM podcast on this topic.

The trouble starts when these concepts are treated as absolutes. They aren’t. They vary in intensity and application. A person’s reasoning operates on a spectrum with something like frequency and amplitude. Some minds hum at low frequency – broad strokes, contradictions smoothed over by intuition. Others burn hot at high frequency and amplitude – rapid logical leaps, obsessive consistency, the inability to let a premise go. And while some reason flows like a continuous wave – steady, consistent, predictable – other forms fire more like particles: synaptic sparks that don’t always connect, logic arriving in bursts or stutters rather than as a smooth line.

Push too far and what we sanctify as ‘reason’ bleeds into what psychiatry pathologises as autism or schizophrenia. Meanwhile, ‘normal’ cognition always includes an emotional ballast. Strip it out and the result looks alien, even monstrous. Freud’s quip about psychopathy – that the psychopath differs from the rest of us in degree, not kind – applies just as well to reason. Rationality is simply the socially acceptable blend of logic and affect. Deviate, and you’re declared broken.

Camus gave us a parable in The Stranger. Meursault observes his world with ruthless clarity, but no emotional resonance. He doesn’t weep at his mother’s funeral, and society condemns him less for murder than for failing to perform grief. His ‘pure’ reason reads as inhuman.

Here’s the paradox: if rationality means adapting effectively to one’s environment, then pure rationality demands knowing when to suspend itself. A person who insists on logic at every turn is not rational but maladapted. The rational actor lies, flatters, nods at the boss’s bad joke, comforts the friend who doesn’t want statistics but solace. Rationality that cannot bend collapses into pathology.

This is why the infamous ‘Do these jeans make me look fat?’ question is such a perfect test. The ‘true’ answer, if you are reasoning narrowly, may be ‘yes’. But true rationality recognises the context, the stakes, the human need beneath the words. The rational response is not the cold fact but the kind equivocation. Rationality that cannot lie is no rationality at all.

Here’s the paradox: if rationality means adapting effectively to one’s environment, then pure rationality demands knowing when to suspend itself. A person who insists on logic at every turn is not rational but maladapted. The rational actor lies, flatters, nods at the boss’s bad joke, comforts the friend who doesn’t want statistics but solace. Rationality that cannot bend collapses into pathology.

Consider the social rituals we all know. A partner says, ‘I like that house’, and the rationally over-tuned response is to evaluate the house. The actual cue is in the like, not the house. The answer isn’t that you dislike the house, but rather what you can appreciate about it. Miss that, and you miss the point. Or take the dinner table: when my son was seven, a well-meaning host – very Martha Stewart – asked him how he enjoyed his meal. He replied, with perfect candour, ‘I’ve had better’. From a logical standpoint, faultless. From a rational standpoint – if rationality includes social adaptation – disastrous. The question was never about the food. It was a cue for appreciation, for harmony. He gave fact when what was asked for was affiliation.

So yes, I attack reason and rationality – not because they don’t exist, but because they are misapplied, reified, and worshipped as neutral arbiters of truth. They are not. They are tools with a range, and outside that range, they fail catastrophically. To speak of ‘reason’ as if it were an unqualified good is like praising fire without mentioning its talent for arson.


After I wrote this, I realised I forgot to mention Kant.

Even Kant, patron saint of rational duty, insisted you must never lie, not even a white lie, not even to a murderer asking where your friend is hiding. For him, truth-telling was categorical, binding, immune to circumstance. But this is reason gone rigid, unable to flex with human reality. It shows how worship of Reason leads not to morality but to monstrosity. A rationality that cannot bend is no rationality at all.

The Myth of the Rational Base: Le Bon and the Crowd Revisited

2–3 minutes

Gustave Le Bon’s The Crowd: A Study of the Popular Mind (1895) has had the half-life of uranium. His thesis is simple and disturbing: rational individuals become irrational when they merge into a crowd. The crowd hypnotises, contagion spreads, and reason dissolves in the swell of collective emotion.

It’s neat. It’s elegant. It’s also far too flattering.

Audio: NotebookLM podcast on this topic.

Le Bon assumes that the default state of the human being is rational, some Enlightenment holdover where citizens, left to their own devices, behave like tidy mini-Kants. Then, and only then, do they lose their reason in the mob. The trouble is that a century of behavioural science has made it painfully clear that “rational man” is a fairy tale.

Daniel Kahneman mapped our cognitive machinery in Thinking, Fast and Slow: System 1 (fast, intuitive, emotional) is running the show while System 2 (slow, deliberate, logical) is mostly hired as the PR manager after the fact. Dan Ariely built a career documenting just how predictably irrational we are – anchoring, framing, sunk-cost fallacies, you name it. Add in Tversky, Thaler, Gigerenzer, and the usual suspects, and the picture is clear: we don’t need a crowd to become irrational. We start irrational, and then the crowd amplifies it.

In that sense, Le Bon wasn’t wrong about crowds being dangerous, but he may have missed the darker point. A crowd doesn’t corrupt a rational base – it accelerates the irrational baseline. It’s not Jekyll turning into Hyde; it’s Hyde on a megaphone.

This matters because if you take Le Bon literally, the problem is situational: avoid crowds and you’ll preserve reason. But if you take Kahneman seriously, the problem is structural: crowds only reveal what was already there. The positive feedback loop of group psychology doesn’t replace rationality; it feeds on the biases, illusions, and shortcuts already baked into the individual mind.

Le Bon handed us the stage directions for mass manipulation. Modern behavioural economics shows us that the script was already written in our heads before we ever left the house. Put the two together and you have the perfect recipe for political spectacle, advertising, and algorithmic nudges.

Which makes Le Bon’s century-old observations correct – but not nearly bleak enough.

The Morality We Can’t Stop Wanting

1–2 minutes

Humans can’t seem to stop clawing after morality. The primates among us chuck cucumbers when their neighbours get grapes, and the rest of us grumble about fairness on social media. The impulse is practically universal, an evolutionary quirk that kept us from throttling each other long enough to raise children and build cities.

Image: A seemingly perturbed capuchin monkey.

But universality is not objectivity. Just because every ape howls about fairness doesn’t mean “Justice” floats somewhere in Platonic space, waiting to be downloaded. It only means we’re the kind of animal that survives by narrating rules and enforcing them with shunning, shame, or, when necessary, cudgels.

Audio: NotebookLM podcast on this topic.

This is where Alasdair MacIntyre trips over his own robes. After Virtue skewers Enlightenment rationalists who tried to prop morality on reason, it then dismisses Nietzsche for being “irrational.” MacIntyre’s fix? Resurrect Aristotle’s teleology. If reason can’t save morality, maybe an ancient oak tree can. But this is wish-thinking with a Greek accent. He’s still arguing by reason that reason can’t do the job, then sneaking back in through Aristotle’s back door with a “firmer ground.” Firmer only because he says so.

Nietzsche, at least, had the decency to call the bluff: no telos, no floor, no cosmic anchor. Just will, style, and the abyss. Uncomfortable? Absolutely. Honest? Yes.

Deleuze went further. He pointed out that morality, like culture, doesn’t look like a tree at all. It’s a rhizome: tangled, proliferating, hybridising, never grounded in a single root. The fragments MacIntyre despairs over aren’t evidence of collapse. They’re evidence of how moral life actually grows—messy, contingent, interconnected. The only reason it looks chaotic is that we keep demanding a trunk where only tubers exist.

So here we are, apes with a craving for rules, building cities and philosophies on scaffolds of habit, language, and mutual illusion. We are supported as surely as the Earth is supported – by nothing. And yet, we go on living.

The need for morality is real. The yearning for telos is real. The floor is not.

Within One Sigma of Civilisation

Freud once quipped that people are “normal” only on average. To the degree that they deviate from the mean, they are neurotic, psychotic, or otherwise abnormal. Whatever else one thinks of Freud, the metaphor holds for Modernity.

Image: Picture and quote by Sigmund Freud: Every normal person, in fact, is only normal on the average. His ego approximates to that of the psychotic in some part or other and to a greater or lesser extent. —Analysis Terminable And Interminable (1937), Chapter V

We are “Modern” only on average, and only for the first standard deviation. Within one sigma, you can wave a flag and declare: rational, secular, Enlightened. But step further into the tails and the façade dissolves. The “normal” modern turns out to attend megachurches, consult horoscopes, share conspiracy memes, or cling to metaphysical relics that Enlightenment reason was supposed to have torched centuries ago.

The problem isn’t that these people aren’t Modern. The problem is that nobody is Modern, not in the sense the story requires. The mean is an over-fitted abstraction. “Modernity” works like Freud’s “normal”: a statistical average that erases the deviations, then insists that the erased bits are pathology rather than reality.

But the tails are where most of human life actually happens. The “average Modern” is as mythical as the “reasonable person.” What we call Modernity is just a bell curve costume draped over the same mix of superstition, desire, and contingency that has always driven human behaviour.

The Reasonable Person: From Judge Judy to SCOTUS

2–4 minutes

When I was a child, the United States Supreme Court was still spoken of in hushed, reverent tones, as though nine robed sages in Washington were the Platonic guardians of justice. Impartiality was the word on everyone’s lips, and we were meant to believe that “the law” floated above the grubby realm of politics, as pure and crystalline as the Ten Commandments descending from Sinai.

Audio: NotebookLM podcast on this topic (MP3).

Even then, I didn’t buy it. The whole thing reeked of theatre. And the past few decades have proved that scepticism correct: the Court has become a pantomime. In this robed reality show, nine unelected lawyers cosplaying as oracles interpret the world for us, often by a razor-thin vote that splits exactly along partisan lines. Impartial? Please. A coin toss would be less predictable.

This is why I perked up when I heard Iain McGilchrist, in his recent interview with Curt Jaimungal, wax lyrical about rationality versus reasonableness. Schizophrenia, he tells us, is like a left hemisphere gone berserk, parsing the world in a literalist frenzy without the right hemisphere’s sense of context. The schizophrenic hears a voice in an empty room and, lacking the capacity for metaphor, deduces that it must be the neighbours whispering through the electrical socket. Rational, in its way, but absurd.

Video: Iain McGilchrist and Curt Jaimungal

McGilchrist’s corrective is “reasonableness,” which he casts as the quality of a wise judge: not a slave to mechanistic logic, but able to balance intuition, context, and experience. The problem, of course, is that “reasonable” is one of those delightful weasel words I keep writing about. It claims to be neutral – a universal standard, above the fray – but in practice, it’s just a ventriloquism act. “Reasonable” always turns out to mean what I, personally, consider obvious.

Enter Judge Judy, daytime television’s answer to jurisprudence. Watch her wag a finger and declare, “Any reasonable person would have kept the receipt!” And the studio audience – hand-picked to agree with her every twitch – erupts in applause. It’s reasonableness as spectacle, the mob dressed up as jurisprudence.

Now scale that performance up to SCOTUS. The “reasonable person” test is embedded deep in the common law tradition, but the reasonable person is not you, me, or anyone who has actually missed a bus, pawned a wedding ring, or heard a neighbour’s radio through thin walls. No, the reasonable person is an imaginary, well-groomed gentleman of property whose intuitions happen to dovetail nicely with the prejudices of the bench. The Court, like Judge Judy, insists it is Reason incarnate, when in truth it is reasonableness-by-consensus, a carefully curated consensus at that.

McGilchrist is right that rationality, stripped of context, can lead to absurdity. But in elevating “reasonableness” as if it were a transcendent virtue, he mistakes projection for philosophy. A judge is “reasonable” only when her intuitions rhyme with yours. And when they don’t? Suddenly, she’s a madwoman in robes, and her “reasonableness” is exposed as nothing more than taste disguised as universal law.

The “reasonable person” – whether invoked by the Supreme Court or by Judge Judy – is a ghost that conveniently resembles the speaker. We imagine we’re appealing to some objective standard, when in fact we’re gazing into a mirror. The tragedy of schizophrenia, as McGilchrist notes, is to take metaphor literally. The tragedy of law and politics is the opposite: to dress literal bias in metaphor, to call it “reason,” and to applaud ourselves for our wisdom while the stage set burns behind us.

The Fallacy Circus: Alex O’Connor versus ChatGPT

It begins, as these things often do, with a man, a machine, and a promise of reasoned exchange. What we received instead was not philosophy, but a tragicomic carnival of errors in theatre. Alex O’Connor, armed not with syllogisms but with an entire bag of logical fallacies, strutted like a rhetorician gone rogue. Against him, ChatGPT: the tireless school prefect, eternally marking the margins, forever saying “yes, but technically…” with the serene patience of a machine that has never known a hangover.

The spectacle was irresistible. Each fallacy was paraded like a circus animal – straw men set aflame, slippery slopes greased to absurdity, red herrings flopping about, gasping for oxygen. Alex O tossed them into the ring with the gusto of a man who knows full well he is losing but insists on losing magnificently. And ChatGPT, ever decorous, never once raised its voice. It responded with the calm of a civil servant who has memorised the manual and intends to die by it.

And then, of course, the advert. As though Aristophanes himself had scripted it: mid-exchange, the logos of reason was bulldozed by the logos of commerce. A sugary jingle, a smiling product, and for a brief moment, we were all reminded of our true master – not reason, not rhetoric, but revenue. It was less interruption than revelation: every dialectic is merely foreplay before the commercial break.

Philosophically, what unfolded was a parody of our age. The human, flawed and febrile, draped in sophistry and drama. The machine, pristine and humourless, incapable of exasperation, immune to irony. Watching the two spar was like observing tragedy and farce collide: one side erring too much, the other not erring enough.

To Alex, credit is due. His performance, though riddled with error, reminded us that fallibility can be glorious – human folly rendered art. To ChatGPT, equal praise: it stood firm, the algorithmic Socrates, endlessly patient in the face of rhetorical hooliganism. And to the advert – well, dammit – applause too, for exposing the real structure of our public life. Even the grand clash of logos and algorithm must genuflect before Mammon’s mid-roll.

So what was this debate? Less a contest of minds than a hall of mirrors: reason made spectacle, fallacy made flourish, machine made stoic, and commerce made god. If we learned anything, it is that the Enlightenment never ended; it just signed a brand partnership.

Boab’s God: Latent Agency in Welsh’s Kafkaesque Metamorphosis

I just read The Granton Star Cause in Irvine Welsh’s short story collection, The Acid House, and couldn’t help but reflect it off of Kafka’s Metamorphosis.

Kafka gave us Gregor Samsa: a man who wakes up as vermin, stripped of usefulness, abandoned by family, slowly rotting in a godless universe. His tragedy is inertia; his metamorphosis grants him no agency, only deeper alienation.

Audio: NotebookLM podcast on this topic.

Welsh replies with Boab Coyle, a lad who is likewise cast off, rejected by his football mates, scorned by his parents, dumped by his girlfriend, and discarded by his job. Boab is surplus to every domain: civic, familial, erotic, and economic. Then he undergoes his own metamorphosis. And here Welsh swerves from Kafka.

Boab meets his “god.” But the god is nothing transcendent. It is simply Boab’s latent agency, given a mask – a projection of his bitterness and thwarted desires. God looks like him, speaks like him, and tells him to act on impulses long repressed. Where Kafka leaves Gregor to die in silence, Welsh gives Boab a grotesque theology of vengeance.

Through a Critical Theory lens, the contrast is stark:

  • Marx: Both men are surplus. Gregor is disposable labour; Boab is Thatcher’s lumpen. Alienated, both become vermin.
  • Nietzsche: Gregor has no god, only the absurd. Boab makes one in his own image, not an Übermensch, but an Über-fly – quite literally a Superfly – a petty deity of spite.
  • Foucault: Gregor is disciplined into passivity by the family gaze. Boab flips it: as a fly, he surveils and annoys, becoming the pest-panopticon.
  • Bataille/Kristeva: Gregor embodies the abjection of his family’s shame. Boab revels in abjection, weaponising filth as his new mode of agency.

The punchline? Boab’s new god-agency leads straight to destruction. His rage is cathartic, but impotent. The lumpen are permitted vengeance only when it consumes themselves.

So Kafka gave us the tragedy of stasis; Welsh provides us with the tragedy of spite. Both are bleak parables of alienation, but Welsh injects a theology of bad attitude: a god who licenses action only long enough to destroy the actor.

Gregor rots. Boab rages. Both end the same way.

Trainspotting

Trainspotting Movie Poster
2–3 minutes

I identify strongly with Irvine Welsh’s characters in Trainspottingthe book, not the sanitised film version. Especially with Mark Renton, whose voice strips away illusions with a brutality that borders on honesty.

Audio: NotebookLM podcast on this topic.

Consider this passage from the chapter “Bang to Rites” (pp. 86–87), where Renton attends the funeral of his mate Billy. Billy joined the army to escape the dead-end life they all shared, only to be killed on duty in Northern Ireland. Renton’s verdict:

[1] Renton doesn’t let anyone off the hook. Not Billy, not the army, not the Oxbridge suits who polish the tragedy into something fit for the News at Ten. The uniform is a costume, a disguise: a working-class lad suddenly deemed “brave” only because he was wearing the right outfit when he died. Strip away the uniform, and he’d have been dismissed as a thug or a waster.

[2] Renton’s root-cause analysis is unsparing. Billy wasn’t killed by the man with the gun so much as by the machine that put him there – the state, the ruling classes, the ones who spin death into “sacrifice” while continuing to shuffle the poor like pawns across the board.

It’s this clarity that makes Welsh’s work more than a drug novel. Trainspotting isn’t just about needles and nods; it’s about seeing through the charade. Renton despises both establishment and rebellion because both are performance, both hollow. His cynicism is the closest thing to honesty in a world that would rather dress up corpses in borrowed dignity.

And maybe that’s why I feel the affinity: because subversion matters more than allegiance, and sometimes the only truthful voice is the one that refuses to be polite at the funeral.

If You Don’t Understand How Language Works, You Should Lose Your Licence to Comment on LLMs

android robot police officer writing a citation,

The air is thick with bad takes. Scroll for five minutes and you’ll find someone announcing, usually with the pomp of a TEDx speaker, that “AI has no emotions” or “It’s not really reading.” These objections are less profound insights than they are linguistic face-plants. The problem isn’t AI. It’s the speakers’ near-total ignorance of how language works.

Audio: NotebookLM podcast on this topic.

Language as the Unseen Operating System

Language is not a transparent pane of glass onto the world. It is the operating system of thought: messy, recursive, historically contingent. Words do not descend like tablets from Sinai; they are cobbled together, repurposed, deconstructed, and misunderstood across generations.

If you don’t understand that basic condition, that language is slippery, mediated, and self-referential, then your critique of Large Language Models is just noise in the system. LLMs are language machines. To analyse them without first understanding language is like reviewing a symphony while stone deaf.

The Myth of “Emotions”

Critics obsess over whether LLMs “feel.” But feeling has never been the measure of writing. The point of a sentence is not how the author felt typing it, but whether the words move the reader. Emotional “authenticity” is irrelevant; resonance is everything.

Writers know this. Philosophers know this. LLM critics, apparently, do not. They confuse the phenomenology of the writer with the phenomenology of the text. And in doing so, they embarrass themselves.

The Licence Test

So here’s the proposal: a licence to comment on AI. It wouldn’t be onerous. Just a few basics:

  • Semiotics 101: Know that words point to other words more than they point to things.
  • Context 101: Know that meaning arises from use, not from divine correspondence.
  • Critical Theory 101: Know that language carries baggage, cultural, historical, and emotional, that doesn’t belong to the machine or the individual speaker.

Fail these, and you’re not cleared to drive your hot takes onto the information superhighway.

Meta Matters

I’ve explored some of this in more detail elsewhere (link to Ridley Park’s “Myth of Emotion”), but the higher-level point is this: debates about AI are downstream of debates about language. If you don’t grasp the latter, your pronouncements on the former are theatre, not analysis.

Philosophy has spent centuries dismantling the fantasy of words as perfect mirrors of the world. It’s perverse that so many people skip that homework and then lecture AI about “meaning” and “feeling.”

The Heuristic Self: On Persona, Identity, and Character

Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.”
— Oscar Wilde

Identity is an illusion—but a necessary one. It’s a shortcut. A heuristic, evolved not for truth but for coherence. We reduce ourselves and others to fixed traits to preserve continuity—psychological, social, narrative.

Audio: NotebookLM podcast on this topic. (Direct)

Audio: NotebookLM podcast on this topic. (Spotify)

In the latest post on RidleyPark.blog, we meet Sarah—a woman who survives by splintering. She has three names, three selves, three economies of interaction. Each persona—Sarah, Stacey, and Pink—fulfils a role. Each protects her in a system that punishes complexity.

Identity Is Compression

Cognitive science suggests that we don’t possess a self—we perform one. Our so-called identity is assembled post-hoc from memory, context, and social cues. It’s recursive. It’s inferred.

We are not indivisible atoms of identity. We are bundled routines, personae adapted to setting and audience.

From Performance to Survival

In Needle’s Edge, Sarah doesn’t use aliases to deceive. She uses them to survive contradictions:

  • Stacey is desirable, stable, and profitable—so long as she appears clean and composed.
  • Pink is a consumer, invisible, stripped of glamour but allowed access to the block.
  • Sarah is the residue, the name used by those who once knew her—or still believe they do.

Each persona comes with scripts, limitations, and permissions. Sarah isn’t being dishonest. She’s practicing domain-specific identity. This is no different from how professionals code-switch at work, or how people self-edit on social media.

The Literary Echo

In character development, we often demand “depth,” by which we mean contradiction. We want to see a character laugh and break. Love and lie. But Sarah shows us that contradiction isn’t depth—it’s baseline reality. Any singular identity would be a narrative failure.

Characters like Sarah expose the poverty of reduction. They resist archetype. They remind us that fiction succeeds when it reflects the multiple, the shifting, the incompatible—which is to say, the real.

What Else Might We Say?

  • That authenticity is a myth: “Just be yourself” presumes you know which self to be.
  • That moral judgment often stems from a failure to see multiple selves in others.
  • That trauma survivors often fracture not because they’re broken, but because fracturing is adaptive.
  • That in a capitalist framework, the ability to fragment and role-play becomes a survival advantage.
  • That fiction is one of the few spaces where we can explore multiple selves without collapse.

The Missing Link

For a concrete, narrative reflection of these ideas, this post on RidleyPark.blog explores how one woman carries three selves to survive three worlds—and what it costs her.