
Chap. 3 : Freedom and Consequences
1990s, On Ethics and Economics (1991)
Source: The Monkey Grammarian (1974), Ch. 4
Ch. 4 -->
Context: Fixity is always momentary. But how can it always be so? If it were, it would not be momentary — or would not be fixity. What did I mean by that phrase? I probably had in mind the opposition between motion and motionlessness, an opposition that the adverb always designates as continual and universal: it embraces all of time and applies to every circumstance. My phrase tends to dissolve this opposition and hence represents a sly violation of the principle of identity. I say “sly” because I chose the word momentary as an adjectival qualifier of fixity in order to tone down the violence of the contrast between movement and motionlessness. A little rhetorical trick intended to give an air of plausibility to my violation of the rules of logic. The relations between rhetoric and ethics are disturbing: the ease with which language can be twisted is worrisome, and the fact that our minds accept these perverse games so docilely is no less cause for concern. We ought to subject language to a diet of bread and water if we wish to keep it from being corrupted and from corrupting us. (The trouble is that a-diet-of-bread-and-water is a figurative expression, as is the-corruption-of-language-and-its-contagions.) It is necessary to unweave (another metaphor) even the simplest phrases in order to determine what it is that they contain (more figurative expressions) and what they are made of and how (what is language made of? and most important of all, is it already made, or is it something that is perpetually in the making?). Unweave the verbal fabric: reality will appear. (Two metaphors.) Can reality be the reverse of the fabric, the reverse of metaphor — that which is on the other side of language? (Language has no reverse, no opposite faces, no right or wrong side.) Perhaps reality too is a metaphor (of what and/or of whom?). Perhaps things are not things but words: metaphors, words for other things. With whom and of what do word-things speak? (This page is a sack of word-things.) It may be that, like things which speak to themselves in their language of things, language does not speak of things or of the world: it may speak only of itself and to itself.
Chap. 3 : Freedom and Consequences
1990s, On Ethics and Economics (1991)
"Cancellation of Fair Game" (21 October 1968).
Scientology Policy Letters
Kulturphilosophie (1923), Vol. 2 : Civilization and Ethics
Context: I must interpret the life about me as I interpret the life that is my own. My life is full of meaning to me. The life around me must be full of significance to itself. If I am to expect others to respect my life, then I must respect the other life I see, however strange it may be to mine. And not only other human life, but all kinds of life: life above mine, if there be such life; life below mine, as I know it to exist. Ethics in our Western world has hitherto been largely limited to the relations of man to man. But that is a limited ethics. We need a boundless ethics which will include the animals also.
Source: 1960s, Economics As A Moral Science, 1969, p. 2 cited in: John B. Davis (2011) Kenneth Boulding as a Moral Scientist http://epublications.marquette.edu/cgi/viewcontent.cgi?article=1011&context=econ_workingpapers Working paper
Source: The Limits of Evolution, and Other Essays, Illustrating the Metaphysical Theory of Personal Ideaalism (1905), Modern Science and Pantheism, p.74
1950's, On Being a Graphic Artist', 1953
Context: It may seem paradoxical to say that there are similarities between a poetical and a commercial mind, but it is a fact that both a poet and a businessman are constantly dealing with problems that are directly related to people and for which sensitivity is of prime importance. The business-like mind is sometimes described as being cold, sober, calculating, hard; but perhaps these are simply qualities that are necessary for dealing with people if one wants to achieve anything. One is always concerned with the mysterious, incalculable, dark, hidden aspects for which there is no easy formula, but which form essentially the same human element as that which inspires the poet.