🤔 If liberation now feels indistinguishable from exhaustion, what exactly have we been freed from?
Image: Exhaustion means you’re working hard, and working hard means you’re good.
Han’s slender essay reads like a diagnosis of our psychic economy. The disciplinary society of ‘thou shalt’ has dissolved into the achievement society of ‘yes, I can’. We no longer rebel against authority; we internalise it, polishing our exhaustion until it gleams like ambition. Productivity replaces purpose. Rest becomes guilt. The subject, stripped of exterior constraint, now self-flagellates in the name of freedom.
We exploit ourselves and think we are free.
What Han captures is not mere fatigue but a civilisational pathology: the compulsion to optimise the self as though it were capital. Burnout is not the collapse of will but the logical conclusion of unlimited permission.
If liberation now feels indistinguishable from exhaustion, what exactly have we been freed from?
From the series Readings in Late Exhaustion – a Philosophics reflection on the maladies of modernity.
About the Series — Readings in Late Exhaustion
These cards belong to Readings in Late Exhaustion, a Philosophics project tracing the psychic and cultural costs of late capitalism.
Each card interprets a contemporary work of critical theory through the language of collectable gameplay, where identity, labour, and value become quantified acts.
The format itself is the critique: a system of self-expenditure disguised as achievement, reflection rendered as performance.
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.
When drawn, this card alters perception itself. It reminds the player that truth is not something one finds under a rock but something one polishes into shape. Each metaphor becomes a spell; each keyword a crutch thrown aside.
Those who wield the Constructivist Lens see not “facts,” but fictions so useful they forgot to call them that. Reality wobbles politely to accommodate belief.
“Knowledge is not a copy of reality but a tool for coping with it.” — Richard Rorty
In game terms: Tap to reframe existence as interpretation. Duration: until the next disagreement.
A recent parody video making the rounds on social media shows a man at a kitchen table, his girlfriend, and their cat. In a desperate attempt to gain his girlfriend’s attention, he knocks a cup off the table. The moment it hits the floor, she turns on him, scolding him for his clumsiness. Quick to deflect, he blames the cat, and suddenly her anger dissipates. She shifts from reprimanding him to lavishing affection on the supposedly guilty feline. The tension lifts—until he sheepishly confesses that it was, in fact, his doing all along. Her response? An incredulous, “Are you kidding me?”
What’s fascinating about this skit isn’t the comedy of the man’s mischief or even the cat’s unknowing role in the charade. It’s the girlfriend’s starkly different reactions to the same act, depending on who she believes committed it. The cat, in her eyes, can do no wrong; the boyfriend, however, is immediately culpable. It’s easy to laugh at the scenario’s absurdity, but the dynamic it portrays is familiar and, dare I say, quite telling about human behaviour.
The Double Standard of Blame
Why is it that we’re quick to exonerate some and just as quick to indict others? The phenomenon is more than a quirk of personality; it reveals our deeper, often unconscious, biases. While it’s understandable that the girlfriend might think the cat incapable of intentional mischief, her reaction also suggests a predisposition to forgive certain actors—whether due to perceived innocence, attachment, or simply habit.
This dynamic isn’t limited to pets and partners. In families, workplaces, and social groups, we often see a similar pattern. One person becomes the perennial scapegoat, bearing the brunt of blame for any and all misdeeds, while another enjoys a seemingly unshakeable immunity. Think of the “golden child” and the “black sheep” within a family. One can rarely put a foot wrong, while the other’s every move is scrutinised, questioned, or condemned.
Beyond the Blame: Motivations and Consequences
The reasons behind these imbalances can be complex. Sometimes, they stem from past behaviour: if someone has repeatedly erred, we may be primed to expect the worst from them, even if they’ve reformed. Other times, they arise from emotional bonds or biases: we excuse those we love or admire because acknowledging their faults would cause us discomfort or cognitive dissonance.
This phenomenon isn’t just about playing favourites; it can have significant psychological consequences. For the person perpetually cast as the villain, the burden of unwarranted blame can lead to feelings of resentment, anxiety, or self-doubt. Meanwhile, those consistently exonerated may internalise a skewed perception of their own infallibility, which can be equally damaging.
A Broader Reflection on Accountability
Returning to the video’s context, the girlfriend’s swift switch from reproach to indulgence once she believed the cat was at fault, and her subsequent anger when the truth was revealed, invites us to question our own responses to perceived transgressions. Are we, too, guilty of selectively assigning blame based on who we think is responsible? How often do we let our preconceptions shape our judgments, favouring one actor over another without truly weighing the evidence?
The parody is amusing, no doubt, but it also serves as a subtle reminder: our reactions often reveal more about our biases and expectations than about the actions themselves. The next time we find ourselves quick to blame or forgive, it’s worth pausing to ask: are we reacting to the act, or to the actor?
In a world increasingly marked by polarised opinions and knee-jerk reactions, cultivating this kind of self-awareness is crucial. We need to be vigilant not only about how we judge others but also about why we do so. For, in the end, it’s not just about who knocked the cup off the table—it’s about who we believe deserves to be scolded for it.
Philosophics 