Regular readers know I often write about identity, free will, and the narrative constraints of language. But I also explore these ideas through fiction, under the name Ridley Park.
In this short video, I unpack the philosophical motivations behind my stories, including:
Why reality is never as it seems
Why the self is a narrative convenience
What Heidegger’s Geworfenheit and Galen Strawson’s Causa Sui argument reveal about agency
And why language fails us – even when we think it serves
This isn’t promotional fluff. It’s epistemological dissent in a new format. Fictional, yes, but only in the sense that most of reality is, too.
As some of you know, I publish speculative fiction under the name Ridley Park. Propensity is one of several recent releases – a novella that leans philosophical, brushes up against literary fiction, and steps quietly into the margins of sci-fi.
It’s not about spaceships or superintelligence. It’s about modulation.
About peace engineered through neurochemical compliance.
About the slow horror of obedience without belief, and the behavioural architecture that lets us think we’re still in control.
The ideas explored include:
Free will as illusion
Peace as compliance
Drift, echo, and the limits of modulation
Obedience without belief
Institutional horror and soft dystopia
Consent and behavioural control
Narrative as residue
Collapse by calibration
Though filed under speculative fiction, Propensity [US] is best read as a literary artefact – anti-sci-fi, in a sense. There’s no fetishisation of technology or progress. Just modulation, consequence, and the absence of noise.
This PDF contains selected visual excerpts from the physical book to accompany the free audiobook edition. For readers and listeners alike, it offers a glimpse into Ridley Park’s world – a quietly dystopian, clinically unsettling, and depressingly plausible one.
Title page
Copyrights page
Table of Contents
Chapter 10: Memorandum. This chapter is read in the audiobook. The inclusion here is for visualisation as it is rendered in the form of a memo.
Chapter 26: Simulacra. This chapter is read in the audiobook. The inclusion here is for visualisation as it is rendered in the format of a screenplay.
Chapter 28: Standard Test: This chapter is read in the audiobook. The inclusion here is for visualisation as it is rendered in the format of a standardised test.
Chapter 34: Calendar. This chapter is read in the audiobook. The inclusion here is for visualisation as it is rendered in the format of a calendar.
Chapter 39: Carnage. This chapter is read in the audiobook. The inclusion here is for visualisation as it is rendered in the form of a Dr Suess-type poem.
Chapter 41: Leviathan. This chapter is excerpted in the audiobook. The inclusion here is for visualisation as it is rendered with an image of the cover of Hobbes’ Leviathan and redacted page content.
Chapter 42: Ashes to Ashes. This chapter is read in the audiobook. The inclusion here is for visualisation as it is rendered in the form of text art.
Chapter 43: Unknown. A description of this chapter is read in the audiobook. The inclusion here is for visualisation as it is rendered in the form of an ink sketch.
Chapter 44: Vestige. A description of this chapter is read in the audiobook. The inclusion here is for visualisation as it is rendered in the form of text art.
For more information about Ridley Park’s Propensity, visit the website. I’ll be sharing content related to Propensity and my other publications. I’ll cross-post here when the material has a philosophical bent, which it almost always does.
Cause and effect: This clip by Jonny Thompson influenced this post.
I’ve written extensively (and, some might say, relentlessly) on the immorality of private property, particularly the theological nonsense that undergirds its supposed legitimacy. Locke’s first-come, first-served logic might have sounded dashing in the 17th century, but it now reads like a boarding queue at Ryanair: desperate, arbitrary, and hostile to basic decency.
Audio: NotebookLM podcast on this content.
The core problem? Locke’s formulation assumes land was once freely available, as if Earth were a kind of colonial vending machine: insert labour, receive title. But that vending machine was already jammed by the time most of humanity got a look-in. Worse, it bakes in two kinds of chauvinism: temporal (screw the future) and speciesist (screw anything non-human).
Parfit’s long-termism lays bare the absurdity: why should a bit of land or atmospheric stability belong to those who happened to get here first, especially when their stewardship amounts to strip-mining the pantry and then boarding up the exit?
And no, “mixing your labour” with the land does not miraculously confer ownership—any more than a damp bint lobbing a sword at you from a pond makes you sovereign. That’s not philosophy; that’s Arthurian cosplay.
I’m almost finished with A Language Insufficiency Hypothesis, the book I’ve been labouring over for what feels like the gestation period of a particularly reluctant elephant. To be clear: the manuscript is done. Written. Edited. Blessed. But there remains one final circle of publishing hell—the index.
Now, if you’re wondering how motivated I am to return to indexing, consider this: I’m writing this blog post instead. If that doesn’t scream avoidance with an airhorn, nothing will.
Audio: NotebookLM podcast on this topic.
I began indexing over a month ago. I made it through two chapters of eight, then promptly wandered off to write a couple of novellas. As you do. One started as a short story—famous last words—and evolved into a novella. The muse struck again. Another “short story” appeared, and like an unattended sourdough starter, it fermented into a 15,000-word novelette. Apparently, I write short stories the way Americans pour wine: unintentionally generous.
Apparently, I write short stories the way Americans pour wine: unintentionally generous.
With several unpublished manuscripts loitering on my hard drive like unemployed theatre majors, I figured it was time to release one into the wild. So I did. I published the novelette to Kindle, and just today, the paperback proof landed in my postbox like a smug little trophy.
And then, because I’m an unrepentant completionist (or a masochist—jury’s out), I thought: why not release the novella too? I’ve been told novellas and novelettes are unpopular due to “perceived value.” Apparently, people would rather buy a pound of gristle than 200 grams of sirloin. And yet, in the same breath, they claim no one has time for long books anymore. Perhaps these are different tribes of illiterates. I suppose we’ll find out.
Let’s talk logistics. Writing a book is only the beginning—and frankly, it’s the easy part. Fingers to keyboard, ideas to page. Done. I use Word, like most tragically conventional authors. Planning? Minimal. These were short stories, remember? That was the plan.
Next comes layout. Enter Adobe InDesign—because once you’ve seen what Word does to complex layouts, you never go back. Export to PDF, pray to the typographic gods, and move on.
Then there’s the cover. I lean on Illustrator and Photoshop. Photoshop is familiar, like a worn-in shoe; Illustrator is the smug cousin who turns up late but saves the day with scalable vectors. This time, I used Illustrator for the cover—lesson learnt from past pixelation traumas. Hardback to paperback conversion? A breeze when your artwork isn’t made of crayon scribbles and hope.
Covers, in case you’ve never assembled one, are ridiculous. Front. Back. Spine. Optional dust jacket if you’re feeling fancy (I wasn’t). You need titles, subtitles, your name in a legible font, and let’s not forget the barcode, which you will place correctly on the first attempt exactly never.
Unlike my first novel, where I enlisted someone with a proper design eye to handle the cover text, this time I went full minimalist. Think Scandinavian furniture catalogue meets existential despair. Classy.
Once the cover and interior are done, it’s time to wrestle with the publishing platforms. Everything is automated these days—provided you follow their arcane formatting commandments, avoid forbidden fonts, and offer up your soul. Submitting each book takes about an hour, not including the time lost choosing a price that balances “undervalued labour” and “won’t scare away cheapskates.”
Want a Kindle version? That’s another workflow entirely, full of tortured formatting, broken line breaks, and wondering why your chapter headings are now in Wingdings. Audiobooks? That’s a whole other circus, with its own animals and ringmasters. Honestly, it’s no wonder authors hire publishers. Or develop drinking problems.
But I’m stubborn. Which brings us full circle.
I’ve now got two books heading for daylight, a few more waiting in the wings, and one bloody non-fiction beast that won’t see release until I finish the damn index. No pseudonym this time. No hiding. Just me, owning my sins and hoping the final product lands somewhere between “insightful” and “mercifully short.”
So yes, life may well be a journey. But indexing is the bit where the satnav breaks, the road floods, and the boot falls off the car. Give me the destination any day. The journey can fuck right off.
Having just finished Never Let Me Go by Kazuo Ishiguro, I’ve now cracked open my first taste of Cioran—History and Utopia. You might reasonably ask why. Why these two? And what, if anything, do they have in common? Better yet—what do the three of us have in common?
Audio: NotebookLM podcast on this topic.
Recently, I finished writing a novella titled Propensity (currently gathering metaphorical dust on the release runway). Out of curiosity—or narcissism—I fed it to AI and asked whose style it resembled. Among the usual suspects were two names I hadn’t yet read: Ishiguro and Cioran. I’d read the others and understood the links. These two, though, were unknown quantities. So I gave them a go.
Ishiguro is perhaps best known for The Remains of the Day, which, like Never Let Me Go, got the Hollywood treatment. I chose the latter, arbitrarily. I even asked ChatGPT to compare both books with their cinematic counterparts. The AI was less than charitable, describing Hollywood’s adaptations as bastardised and bowdlerised—flattened into tidy narratives for American palates too dim to digest ambiguity. On this, we agree.
What struck me about Never Let Me Go was its richly textured mundanity. That’s apparently where AI saw the resemblance to Propensity. I’m not here to write a book report—partly because I detest spoilers, and partly because summaries miss the point. It took about seven chapters before anything ‘happened’, and then it kept happening. What had at first seemed like a neurotic, wandering narrative from the maddeningly passive Kathy H. suddenly hooked me. The reveals began to unfold. It’s a book that resists retelling. It demands firsthand experience. A vibe. A tone. A slow, aching dread.
Which brings me neatly to Cioran.
History and Utopia is a collection of essays penned in French (not his mother tongue, but you’d never guess it) while Cioran was holed up in postwar Paris. I opted for the English translation—unapologetically—and was instantly drawn in. His prose? Electric. His wit? Acidic. If Ishiguro was a comparison of style, then Cioran was one of spirit. Snark, pessimism, fatalistic shrugs toward civilisation—finally, someone speaking my language.
Unlike the cardboard cut-outs of Cold War polemics we get from most Western writers of the era, Cioran’s take is layered, uncomfortably self-aware, and written by someone who actually fled political chaos. There’s no naïve idealism here, no facile hero-villain binaries. Just a deeply weary intellect peering into the abyss and refusing to blink. It’s not just what he says, but the tone—the curled-lip sneer at utopian pretensions and historical self-delusions. If I earned even a drop of that comparison, I’ll take it.
Both Ishiguro and Cioran delivered what I didn’t know I needed: the reminder that some writers aren’t there to tell you a story. They’re there to infect you with an atmosphere. An idea. A quiet existential panic you can’t shake.
I’ve gotten what I came for from these two, though I suspect I’ll be returning, especially to Cioran. Philosophically, he’s my kind of bastard. I doubt this’ll be my last post on his work.
Yuval Noah Harari, always ready with a digestible morsel for the TED-addled masses, recently declared that “democracy runs on trust, dictatorship on terror.” It’s a line with the crispness of a fortune cookie and about as much analytical depth. Designed for applause, not interrogation, it’s the sort of soundbite that flatters liberal sensibilities while sanding off the inconvenient edges of history.
Audio: NotebookLM podcast on this topic.
Let’s be honest: this dichotomy is not merely simplistic – it’s a rhetorical sedative. It reassures those who still believe political systems are like kitchen appliances: plug-and-play models with clear instructions and honest warranties. But for anyone who’s paid attention to the actual mechanics of power, this framing is delusional.
1. Trust Was Never Earned
In the United States, trust in democratic institutions was never some noble compact forged through mutual respect and enlightened governance. It was cultivated through exclusion, propaganda, and economic bribery. The post-WWII boom offered the illusion of institutional legitimacy – but only if you were white, male, middle-class, and preferably asleep.
Black Americans, Indigenous peoples, immigrants, women – none were granted the luxury of naïve trust. They were told to trust while being actively disenfranchised. To participate while being systemically excluded. So no, Harari, the machine didn’t run on trust. It ran on marketing. It ran on strategic ignorance.
2. Dictatorship Doesn’t Require Terror
Equally cartoonish is the notion that dictatorships subsist purely on terror. Many of them run quite comfortably on bureaucracy, passive conformity, and the grim seduction of order. Authoritarians know how to massage the same trust reflexes as democracies – only more bluntly. People don’t just obey out of fear. They obey out of habit. Out of resignation. Out of a grim kind of faith that someone – anyone – is in charge.
Dictatorships don’t extinguish trust. They re-route it. Away from institutions and toward strongmen. Toward myths of national greatness. Toward performative stability. It’s not that terror is absent—it’s just not the whole machine. The real engine is misplaced trust.
3. Collapse Is Bipartisan
The present moment isn’t about the erosion of a once-trustworthy system. It’s the slow-motion implosion of a confidence game on all sides. The old liberal institutions are collapsing under the weight of their hypocrisies. But the loudest critics – tech messiahs, culture warriors, authoritarian nostalgists – are no better. Their solutions are just new brands of snake oil in sleeker bottles.
Everyone is pointing fingers, and no one is credible. The public, caught between cynicism and desperation, gravitates either toward restoration fantasy (“make democracy work again”) or authoritarian theatre (“at least someone’s doing something”). Both are dead ends.
4. The Only Way Forward: Structural Reimagination
The only viable path isn’t restoration or regression. It’s reinvention. Systems that demand unconditional trust – like religions and stock markets – are bound to fail, because they rely on sustained illusions. Instead, we need systems built on earned, revocable, and continually tested trust – systems that can survive scrutiny, decentralise power, and adapt to complexity.
In other words: stop trying to repair a house built on sand. Build something else. Something messier, more modular, less mythological.
Let the TED crowd have their slogans. We’ve got work to do.
A five-part descent into the illusion of autonomy, where biology writes the script, reason provides the excuse, and the self is merely the echo of its own conditioning.This is a follow-up to a recent post on the implausibility of free will.
Continuity Is Not Identity
You are not who you were — you are what you’ve become
“A river doesn’t remember yesterday’s curve. But we point to it and say: ‘Look, it’s still the same.’”
Audio: NotebookLM podcast on this topic.
The compatibilist move here is subtler — less grandiose than autonomy, more domesticated than sovereignty. It says: Even if you didn’t choose your traits, your past, your preferences — you’re still you. That self has endured. And moral responsibility flows from that continuity.
But this, too, is sleight of hand.
Because continuity is a pattern, not a person. And a pattern that evolves without origin is not accountable. It’s just happening.
A River Is Not a Moral Agent
Yes, you are still “you” — but only in the loosest, most cosmetic sense. The fact that your behaviour follows a recognisable pattern does not imply authorship. It merely confirms that systems tend toward stability, or path dependence, or neural canalisation.
You can be stable. You can even be consistent. But that doesn’t mean you’re choosing anything.
Continuity is not control. It’s inertia dressed up as identity.
Predictability Is Not Ownership
We mistake persistence for personhood. If someone acts one way for long enough, we assume that behaviour is theirs — that it reflects their values, their self. But all it really reflects is probability.
“You’re still you,” we say. But which you?
The one shaped by sleep deprivation?
The one under hormonal flux?
The one shaped by language, trauma, and cultural myopia?
Every iteration of “you” is a snapshot — a chemical event disguised as character.
You’re Not Rebuilding — You’re Accreting
The recursive defence — “I can change who I am” — also crumbles here. Because you don’t change yourself from nowhere. You change because something changed you. And that change, too, emerges from your condition.
Growth, reflection, habit formation — these aren’t proofs of freedom. They’re signs that adaptive systems accumulate structure.
You are not shaping clay. You are sediment, layered by time.
Character Is Compulsion in Costume
We love stories about people who “showed their true colours.” But this is narrative bias — we flatten a life’s complexity into a myth of revelation.
Yet even our finest moments — courage, restraint, sacrifice — may be nothing more than compulsions coded as character. You didn’t choose to be brave. You just were.
The brave person says: “I had no choice.” The coward says the same.
Who gets the medal is irrelevant to the question of freedom.
TL;DR: Continuity Doesn’t Mean You Own It
The self is a pattern of events, not a stable agent.
Continuity is not agency — it’s habit.
Predictability doesn’t prove ownership.
Even your finest moments might be involuntary.
And if you’re not choosing your changes, you’re just being changed.
So, no — you are not who you were. You are what you’ve become. And what you’ve become was never yours to shape freely.
📅 Coming Tomorrow:
Manipulability as Disproof
If your will can be altered without your knowledge, was it ever truly yours?
Full Disclosure: I read the first volume of The Hunger Games just before the film was released. It was OK – certainly better than the film. This video came across my feed, and I skipped through it. Near the end, this geezer references how Katniss saves or recovers deteriorated morality. Me being me, I found issue with the very notion that a relative, if not subjective, concept could be recovered.
The OP asks if The Hunger Games are a classic. I’d argue that they are a categorical classic, like Harry Potter, within the category of YA fiction.
Audio: NotebookLM podcast discussing this topic.
The Hunger Games doesn’t depict the death of morality — it’s a masterclass in how to twist it into a circus act.
Video: YouTube video that spawned this topic.
Let us dispense with the hand-wringing. The Hunger Games is not a parable of moral decay. It is something far more chilling: a vivid portrait of moral engineering — the grotesque contortion of ethical instincts into instruments of domination and spectacle.
Those who bemoan the “decline of morality” in Panem have rather missed the point. There is no absence of morality in the Capitol — only a different version of it. A rebranded, corporatised, state-sanctioned morality, lacquered in lipstick and broadcast in 4K. It is not immorality that reigns, but a hyperactive ideological morality, designed to keep the masses docile and the elites draped in silk.
This is not moral entropy; it’s moral mutation.
Children are not slaughtered because people have forgotten right from wrong — they are slaughtered because a society has been trained to believe that this is what justice looks like. That blood is penance. That fear is unity. That watching it all unfold with a glass of champagne in hand is perfectly civilised behaviour.
This isn’t the death of morality. It’s a hostile takeover.
The Moral PR Machine
If morality is, as many of us suspect, relative — a cultural construct built on consensus, coercion, and convenience — then it can no more “decline” than fashion trends can rot. It simply shifts. One day, shoulder pads are in. The next, it’s child-on-child murder as prime-time entertainment.
In Panem, the moral compass has not vanished. It’s been forcibly recalibrated. Not by reason or revelation, but by propaganda and fear. The Games are moral theatre. A grim ritual, staged to remind the Districts who holds the reins, all under the nauseating guise of tradition, order, and justice.
The citizens of the Capitol aren’t monsters — they’re consumers. Trained to see horror as haute couture. To mistake power for virtue. To cheer while children are butchered, because that’s what everyone else is doing — and, crucially, because they’ve been taught it’s necessary. Necessary evils are the most seductive kind.
Katniss: Not a Saint, But a Saboteur
Enter Katniss Everdeen, not as the moral saviour but as the spanner in the machine. She doesn’t preach. She doesn’t have a grand theory of justice. What she has is visceral disgust — an animal revulsion at the machinery of the Games. Her rebellion is personal, tribal, and instinctive: protect her sister, survive, refuse to dance for their amusement.
She isn’t here to restore some lost golden age of decency. She’s here to tear down the current script and refuse to read her lines.
Her defiance is dangerous not because it’s moral in some abstract, universal sense — but because it disrupts the Capitol’s moral narrative. She refuses to be a pawn in their ethical pageant. She reclaims agency in a world that has commodified virtue and turned ethics into state theatre.
So, Has Morality Declined?
Only if you believe morality has a fixed address — some eternal North Star by which all human actions may be judged. But if, as postmodernity has rather insistently suggested, morality is a shifting social fiction — then Panem’s horror is not a fall from grace, but a recalibration of what counts as “grace” in the first place.
And that’s the real horror, isn’t it? Not that morality has collapsed — but that it still exists, and it likes what it sees.
Conclusion: The Real Hunger
The Hunger Games is not about a society starved of morality — it’s about a world gorging on it, cooked, seasoned, and served with a garnish of guiltless indulgence. It is moral appetite weaponised. Ethics as edict. Conscience as costume.
If you feel sickened by what you see in Panem, it’s not because morality has vanished.
There is a kind of political necromancy afoot in modern discourse—a dreary chant murmured by pundits, CEOs, and power-drunk bureaucrats alike: “It’s just human nature.” As if this incantation explains, excuses, and absolves all manner of violent absurdities. As if, by invoking the mystic forces of evolution or primal instinct, one can justify the grotesque state of things. Income inequality? Human nature. War? Human nature. Corporate psychopathy? Oh, sweetie, it’s just how we’re wired.
What a convenient mythology.
Audio: NotebookLM podcast on this topic.
If “human nature” is inherently brutish and selfish, then resistance is not only futile, it is unnatural. The doctrine of dominance gets sanctified, the lust to rule painted as destiny rather than deviance. Meanwhile, the quiet, unglamorous yearning of most people—to live undisturbed, to coöperate rather than conquer—is dismissed as naïve, childish, and unrealistic. How curious that the preferences of the vast majority are always sacrificed at the altar of some aggressive minority’s ambitions.
Let us dispense with this dogma. The desire to dominate is not a feature of human nature writ large; it is a glitch exploited by systems that reward pathological ambition. Most of us would rather not be ruled, and certainly not managed by glorified algorithms in meat suits. The real human inclination, buried beneath centuries of conquest and control, is to live in peace, tend to our gardens, and perhaps be left the hell alone.
And yet, we are not. Because there exists a virulent cohort—call them oligarchs, executives, generals, kings—whose raison d’être is the acquisition and consolidation of power. Not content to build a life, they must build empires. Not content to share, they must extract. They regard the rest of us as livestock: occasionally troublesome, but ultimately manageable.
To pacify us, they offer the Social Contract™—a sort of ideological bribe that says, “Give us your freedom, and we promise not to let the wolves in.” But what if the wolves are already inside the gates, wearing suits and passing legislation? What if the protection racket is the threat itself?
So no, it is not “human nature” that is the problem. Cancer is natural, too, but we don’t celebrate its tenacity. We treat it, research it, and fight like hell to survive it. Likewise, we must treat pathological power-lust not as an inevitability to be managed but as a disease to be diagnosed and dismantled.
The real scandal isn’t that humans sometimes fail to coöperate. It’s that we’re constantly told we’re incapable of it by those whose power depends on keeping it that way.
Let the ruling classes peddle their myths. The rest of us might just choose to write new ones.
Welcome to the Grand Casino of Justice, where the chips are your civil liberties, the roulette wheel spins your fate, and the house—ever-smug in its powdered wig of procedural decorum—always wins.
Step right up, citizens! Marvel at the dazzling illusions of “science” as performed by your local constabulary: the sacred polygraph, that magnificent artefact of 1920s snake oil, still trotted out in back rooms like a séance at a nursing home. Never mind that it measures stress, not deception. Never mind that it’s been dismissed by any scientist with a functioning prefrontal cortex. It’s not there to detect truth—it’s there to extract confession. Like a slot machine that only pays out when you agree you’re guilty.
Audio: NotebookLM podcast on this topic.
And oh, the forensic pageantry! The blacklight! The dramatic swabs! The breathless invocations of “trace evidence,” “blood spatter patterns,” and—ooh! ahh!—fingerprints, those curly little whorls of manufactured certainty. You’ve been told since childhood that no two are alike, that your prints are your identity. Rubbish. Human fingerprint examiners disagree with themselves when presented with the same print twice. In blind tests. And yes—this bears repeating with appropriate incredulity—koalas have fingerprints so uncannily similar to ours they’ve confused human forensic analysts. Somewhere, a marsupial walks free while a teenager rots in remand.
You see, it’s not about justice. It’s about control. Control through performance. The legal system, like a casino, isn’t interested in fairness—it’s interested in outcome. It needs to appear impartial, all robes and solemnity, while tipping the odds ever so slightly, perpetually, in its own favour. This is jurisprudence as stagecraft, science as set-dressing, and truth as a collateral casualty.
And who are the croupiers of this great charade? Not scientists, no. Scientists are too cautious, too mired in uncertainty, too concerned with falsifiability and statistical error margins. No, your case will be handled by forensic technicians with just enough training to speak jargon, and just enough institutional loyalty to believe they’re doing the Lord’s work. Never mind that many forensic methods—bite mark analysis, tool mark “matching,” even some blood spatter interpretations—are about as scientifically robust as a horoscope printed on a cereal box.
TV crime dramas, of course, have done their bit to embalm these myths in the cultural subconscious. “CSI” isn’t a genre—it’s a sedative, reassuring the public that experts can see the truth in a hair follicle or the angle of a sneeze. In reality, most convictions hinge on shoddy analysis, flawed assumptions, and a little prosecutorial sleight of hand. But the juries are dazzled by the sciencey buzzwords, and the judges—God bless their robes—rarely know a confidence interval from a cornflake.
So, what do you do when accused in the great Casino of Justice? Well, if you’re lucky, you lawyer up. If you’re not, you take a plea deal, because 90% of cases never reach trial. Why? Because the system is designed not to resolve guilt, but to process bodies. It is a meat grinder that must keep grinding, and your innocence is but a small bone to be crushed underfoot.
This isn’t justice. It’s a theatre of probability management, where the goal is not truth but resolution. Efficiency. Throughput. The house keeps the lights on by feeding the machine, and forensic science—real or imagined—is merely the window dressing. The roulette wheel spins, the dice tumble, and your future hangs on the angle of a smudge or the misreading of a galvanic skin response.
Just don’t expect the koalas to testify. They’re wise enough to stay in the trees.
Philosophics 