Saturday, October 24, 2015

Quantum Entanglement between Soulmates

Soulmates are often defined as those individuals who share a deep natural affinity. When most think of soulmates, they instantly think of star-crossed lovers who magically find their way back to one another, and when they do, fireworks explode! 

Film 'Marie Antoinette' by Sofia Coppola
depicting Marie Antoinette and Count Hans Axel von Fersen the Younger


QUANTUM ENTANGLEMENT

Quantum entanglement is the notion that a single particle or object can exist in more than one state at once. A particle can have two different positions, orientations, and charges at the same time, but will only specifically reveal one of these states when observed or measured.

This theory also suggests that two particles, miles, or light-years apart, can be linked by their quantum state. If one particle at one end of the universe switches its orientation, another particle on the other side would instantly change as well.

Assuming that Einstein's galactic speed limit - the speed of light - is not strictly enforced, assuming that it is the particles that are linked and not only some field or wave affecting the particles, then the idea of quantum entanglement, that 'spooky action at a distance' concept would expand our perspective of local-realism. In other words, our realism would extend far beyond our localized experience or perception of existence.

QUANTUM ENTANGLEMENT BETWEEN SOUL MATES


For fun, let us hypothesize that separated quantum systems exist in an entangled state, and let us also hypothesize that these states are held or flow through the human body. 

The dynamics of the combined theory (quantum entanglement + soulmates) would characterize the affinity or shared state reported by people for centuries. 

But that's not all, folks! 
Let us introduce an additional concept into our scientifically absurd theory:

REINCARNATION



The doctrine of reincarnation was formulated in India sometime around the 9th century BCE, when the Brahmana writings were composed. The Upanishads defined the concept in clearer terms between the 7th and 5th centuries BCE. The idea was later adopted in other Eastern religions (Jainism and Chinese Taoism) due to the spread of Buddhism in Asia. 

Pythagoras (ca. 570-490 BCE) also reportedly proposed that the soul* was immortal and went through a series of reincarnations, a long cycle that results in many lives and bodies.


Quantum Entanglement 
+ Soulmates 
+ Reincarnation 

We now have the foundation for the next question:

What if we are our own soulmates? 


If we play around with the theory of reincarnation and its possibility residing in proving quantum entanglement true, then:

  1. Quantum entanglement makes possible the notion of soulmates
  2. The notion of soulmate is not limited to the entity with whom we may or may not be cosmically predestined 
  3. Therefore a soulmate could extend to a former incarnation, an entity with whom we are quantum-ly sharing a common soul or particle(s)

These concepts represent a mind a play. They cannot be proven by classical physicists and are therefore indulgent hypotheticals.



Back Story

Wise men speak because they have something to say; 
Fools, because they have to say something.
~Plato

Plato in his dialogue The Symposium, has Aristophanes recount a story about soulmates. Aristophanes describes soulmates as those early humans who had four arms, four legs, and a single head with two faces. There were among these early humans three genders: man, woman and the "Androgynous". The men were children of the sun, the women children of the earth and the Androgynous children of the moon, which was born of the sun and earth.

The gods were jealous of the power the early humans possessed and thus feeling concerned, split them apart. One side benefit was that this would double the tributes humans paid to the gods. However, after being split apart, these new humans were utterly miserable and unable to do anything but wallow for the love they had lost.

Finally, Apollo took pity upon them and sewed them back together; the navel being the physical reminder of their original existence.

From this day forth every human instinctively searches for his or her other half. It is said that when the two find each other, not even death can divide them.


Star-Crossed lovers Romeo and Juliet





*Socrates gave us the modern notion of the soul as being something that resides within us rather than the ghostly alternative that exists separate from us, hanging out at the entrance of the underworld.









Friday, October 23, 2015

Visualizing Data



I love information, but like most people, I process information faster with pictures, graphs, graphics, charts, and meaningful images.



About ten years ago I came across the work of Edward Tufte, an American statistician and professor emeritus of political science, statistics, and computer science at Yale University. He is also an artist (his Feynman diagram sculptures are interesting), and an expert in the presentation of informational graphics (think charts and diagrams). His books Visual Explanations, The Visual Display of Quantitative Information (the first of his books I read), Envisioning Information, and Beautiful Evidence bring together science and art in a way that generates what we call visual information.

Everyone talks about information, but what exactly is information? 

Information is an abstract concept, a notion or idea we intuit. What we intuit could be a theme embodied in a design or a concept through which we mentally travel. As we do, we focus on the data points and associate meaningful images to represent those points. 


Take for example the above infographic which only provides us with numbers and a small iconographic representation of a human being in a specific occupation or stage of life. 

But we don't just read this infographic, we visualize the data it provides. We think of little kids playing in the park and of the people working at our favorite restaurants. We're probably all surprised that there are 1.4 billion people working in agriculture around the world. Next we mentally scan the list of industrial jobs and think about what people do in those jobs. We visualize baby boomers and senior citizens, and some of us are concerned about all the unemployed people (and their families) in the world. Then we imagine what life might be like if we forge our own path, make our own mark on the world ... Steve Jobs, Bill Gates, Richard Branson, Walt Disney, Sam Walton, Larry Page ... 









When data is presented in meaningful terms, we contribute to the visual experience with our own knowledge of the world. In other words we interact with the data. 


Of all the words in the two above paragraphs 'we interact with the data' stood out to our brains because of the way space is represented in the brain. 

Bold text makes a greater impression than ordinary text. 


The more information we produce, the more visual our language will become. When we want to compare and contrast information, the fastest way to process this information is to compare the data side by side. No one has time to waste reading through countless pages of consumer reports. 







Graphic information is only as sound as the data supporting it, and is often times presented with a bias. Companies wanting you to buy one product over the other will highlight certain information and leave other information out. 

Processing, analyzing and communicating data presents a variety of ethical and analytical challenges. Data scientists admit that data visualization is both an art and a science. Given the rate we are generating "Big Data" (data created by internet activity and an expanding number of sensors in the environment, such as satellites and traffic cameras), making information more meaningful and more easily digested becomes one of our next greatest challenges. 

The way in which we present information or design it should support the analytical task, showing the comparison or causality. 

In this respect, graphic displays should: 

  • show the data
  • induce the viewer to think about the substance rather than about methodology, graphic deisgn, the technology of the graphic production or something else
  • avoid distorting what the data has to say
  • present many numbers in a small space
  • make large data sets coherent
  • encourage the eye to compare different pieces of data
  • reveal the data at several levels of detail, from a broad overview to the fine structure
  • serve a reasonably clear purpose: description, exploration, tabulation or decoration
  • be closely integrated with the statistical and verbal descriptions of a data set



Essentially graphics reveal data. 

Information can also be presented in humorous ways. The more engaging the graphic, the higher the likelihood someone will invest the time to read it. 




When information is presented in very simple terms such as in this happiness flow chart, it is almost impossible not to read it. Our brains instantly scan the words, while the interrelatedness needs to be conceptualized. 




But data still has to be abstracted in some schematic form. Its attributes and variables have to be extracted and transformed into units of information. As with any form of communication, the intention of the message and the audience to whom it is delivered are key factors. 



The primary goal of presenting information with graphics, plots, information graphics, tables, and charts is to communication information clearly and efficiently. Visualizing information is something we do naturally. Visuals that speed up the process help us make faster decisions. We also remember this information longer. Even a familiar quote is more memorable when we see it presented in a more visually engaging format. 



In a nutshell ...


We can more easily distinguish differences in line length, shape orientation, and color (hue) without significant processing effort; these pre-attentive attributes are what save us time and effort in attentive processing. 

Effective graphics take advantage of pre-attentive processing and the attributes that strengthen this processing. 






















Sunday, October 18, 2015

The Language of Silence


What does silence say?
Why do we use language in such a way?
To transcend from its logical form and informative purpose,
or to reflect times when we are unable to articulate?

Should we fill it up with words?
Shall we confront silence with language,
or visa versa?

What world does silence encompass?
What limits of language redefine it?
Is it a nihilistic inner logic,
or pure reflective consciousness, unmediated by thought?

Is silence bereft of meaning,
or only comfort?
Is language the mundane physicalness of things we sculpt?

How is silence understood?

As a denial of what it is not,
as a contrasting role between what we say 
and what we keep for ourselves...
Can we preserve silence,
through the conjunction of one upon the other?

Can formal theories of language define it?
Which states serve its purpose?
Against which reality can we measure it?

Without proof of its existence,
does it collapse?
... and then find itself later recognized essentially as meaningless?
since meaning consists precisely in our ability
to connect through language...

Is silence the boundary of language?
Is the idea of silence our concern with the ineffable?

Is silent reading silence?
Is silence the unutterable where nothing gets lost?
Can something be contained in silence?

What can silence say clearly?

To answer such a question,
we find ourselves in a place where language is shorn of its ability
to make sense of silence.

Is keeping silent in the context of hearing?
Does it require a full understanding of itself?
Does it travel at a faster pace than sound?

Is it still silence if we are listening for it?
Is it part of dialogue?
A deeper part of listening?
Do we learn about language through silence?

Is it a state-of-mind or a mood?
Is it a loss of self,
or conscious discourse?

Can we hear it?

Is silence an awareness of it's own impending annihilation?
Destroyed by sound...

Is it freedom from sound,
in harmony with its own nature?

Is it an inverted form of metaphysics?
An inner logic belonging to thinking and not speech.

Is it asound?
Does it have a nature?
Is it a flaw of language?

What does it control?
Is it illusion or reality?

Does thinking fill the space of silence?
Are monologues running hysterically rampant within it?

Is it a profound meditation on the impact of itself?
Or is it merely sound ceased?

What does its reflection look like?
Do we recognize it in duality?

Is a pause silence?
How long does the pause have to last before it becomes silence?

Is silence merely our respective response to disruption?
Is it finalizing or conceptualizing?

Is it awe-inspiring and beyond our grasp?
Is it a confrontation with words?
Is it art?

Can anything exist within it?
How can we tell?

Can we have silence more than once?
Is all silence the same?
Is it a coming or going, or is it continuous?

Is it an imperfect evidence of nothingness?
Expanding and contracting in our atmosphere
like a lung...

It is imagery, detachable from its inherent physical nature?
Will it stand still forever?

Why are we affected by it so?

Does tension take the place of it?
Does movement bring it to an end?

Is it transcendent?

Does it speak to us directly?
Is it an indirect discourse that can only be experienced
when we break it down?

How can we engage with it?
Is it a higher value than truth?

Is silence more authentic than language?
Is it thinkable or unthinkable?

If we are unable to capture it,
how do we know it exists?

Can we conjure it?
Is it disruptive?
Is it meaningful?
Does it bring us together with self and world?

Whatever silence is or is not,
it is in its own unique way,
something that provides us with an opportunity
to discover its modality.

This is when we break the silence,
the source and fountain from which language spills forth ... 






Saturday, August 22, 2015

Happy Lovers

Happy Lovers (1760-5)
Jean-Honore Fragonard
Norton Simon Museum, Pasadena, CA


Fragonard brought to life the immensely popular works of the seventeenth-century author, La Fontaine, whose fables and tales, with their unchristian licentiousness and sensual allusions, captured and enlivened the soul of the spectator, providing him or her with aesthetic and spiritual edification as well as visual delight. 

Happy Lovers illustrates a world of aphorisms, of never-ending attraction and beauty, through the lens of laughter and enjoyment, the sensual and the pleasurable. The couple's undying admiration for one another leads us up a road of delectation, and then abandons us there to imagine what happens next. 

La Fontaine cleverly disguises inferences by not telling us what happens between the couple, gently pushing our minds to wonder and our souls to smile. Similarly, Fragonard's light brush strokes evoke games that precede love-making. 

Never lewd or lascivious, but caressingly erotic amid a lush background of foliage or in an enchanting bedroom or boudoir. 

The couple seem light-hearted and fancy-free, as if they have granted themselves permission to fully experience the impressions that naturally flow between lovers. 

We imagine their sweet discourse, expressed in the language of love ... 


Je t'aime 
          Je t'adore 
                    Tu es ma joie de vivre 
                              Mon amour pour toi est éternel 
                                        Ton amour est précieux comme l'or 
                                                 C'est pour toi que je suis ...


Que mes baisers soient les mots d'amour que je ne te dis pas 
(Kisses are the unspoken words of love). 

Entre deux cÅ“urs que s'aiment, nul besoin de paroles 
(Two hearts in love need no words, Desbordes-Valmore). 

Dans tes bras c'est mon destin 
(My destiny is in your arms) ... 


Such romantic expressions portray love, laughter, and enjoyment. They tell the story of fruitful delight, of a young woman's welcoming eyes, and a man's fallen delight in the object of his affections. Continually declaring their sentiments, the clouds remain as light, vaporous and ethereal as dreams, which is where their love dwells ... half, between this life ... half, between an almost impressionistic landscape under their special tree. 

Her hopes match his plans. To the unsuspecting spectator, their gestures are light and comical, exploding with excitement and over-sentimentality. For the lovers, their sentiments raise them toward the sky, a symbol of celestial ascension and immortality ... from which the declaration mon amour pour toi est éternel  arises ... 

Instead of being surrounded by the animals of Arcadia, the visions of pastoralism and harmony with nature are seen in the mountainous topography and solitude of this scene. Their world is a poetic byword for an idyllic vision of unspoiled wilderness, reflected in their purity of their shared love. 

He caresses the colombe (dove) in his hands, symbolic of the freedom they have embraced. She, holds over his head the cage, illustrating that their time together is fleeting. In her other hand she holds the strings to his heart, as it is the woman who says yes

They have escaped the restraints of their world and found homage in a secluded and peaceful space. For this moment, they are perfectly content. She holds her lover, allowing him to recline lovingly into her essence. In Arcadia the traditional roles of male and female take on their mirrored opposites. Instead of capturing the woman, he relinquishes control and allows himself to fall lavishly into her loving arms. She, instead of merely submitting, embraces and opens herself to him. 

Les deux pigeons (1883)
Gustave Doré


The cage is empty because time is fleeting. Knowing this intensifies their desire to fully immerse themselves in the earthly and celestial aspects of being. La Fontaine adds morals to his fables, not simply leaving the story for the reader to interpret allegorically. 

In Les deux pigeons (Book IX.2), La Fontaine ascribes the most tender feelings in relation to the evocation of past innocence: 

Deux pigeons s'aimaient d'amour tendre

Encore si la saison s'avançait davantage!

Mais le désir de voir et l'humeur inquiète
L'emportèrent enfin. Il dit: Ne pleurez point:
Trois jours au plus rendront mon âme satisfaite

A ces mots en pleurant ils se dirent adieu.

Un seul arbre s'offrit, tel encor que l'orage

L'air devenu serein

Voilà nos gens rejoints; et je laisse à juger
De combien de plaisirs ils payèrent leurs peines

Amants, heureux amants, voulez-vous voyager?

Que ce soit aux rives prochaines;
Soyez-vous l'un à l'autre un monde toujours beau,
Toujours divers, toujours nouveau;

Honorés par les pas, éclairés par les yeux

Hélas! Quand reviendront de semblables moments?

Me laissent vivre au gré du mon âme inquiète?
Ah! si mon cœur osait encor se renflammer!

Ne sentirai-je plus de charme que m'arrête?
Ai-je passé le temps d'aimer...



In this moment, he willingly gives his love to her. Theirs is a love the symbolizes the immortality that spans humanity. His desire is not to conquer, his desire is to embrace, to affirm his soul's deepest desire. She is his kingdom, sa reine ... he is her brave and morally pure soldier. Blended together their love reveals what awakens the senses and delights the eyes and the imagination. 

At first glance they are amused and light-hearted, but when examined more closely, we see that indeed, the soft flowing fabric reveals a more tender unconscious form of the grandeur that connects them through time, transforming a seemingly frolicsome theme into a dream reality, where earthly and celestial worlds collide and contrast with each other. 

Our Happy Lovers are loved and admired, the correct path leads them back to the beginning of their legendary tale. Their l'oraison is a tale of pleasure, a colorful contribution to the delight of lovers everywhere. He is a good, earnest and honest fellow, never taking advantage of his love, even when she offers him all; he only takes what is needed to elevate their love toward a harmonious exchange. She, with her innate innocence, gives freely, forever appreciating his protective nature. 

She is his beauté, and he is her lapin ... 

Je n'ai pas su ce qu'étant dans le lit
Ils avaient fait ...
Apparemment le meilleur de ce conte
Entre deux draps pour Renaud se passa ... 


Fragonard was one of the first painters to depict so many couples kissing. Before the eighteenth century, kisses indicated treason ... 

Kisses of Judas (1304)
Giotto


... or motherly tenderness 

The Virgin Enthroned (1525)
Quentin Massys


... or a lecherous old man's lust 

The ill-matched lovers (1530)
Lucas Cranach


But the perfect lovers, the ideal lovers, are those lovers that blissfully transcend the world around them. They forget about that which the world sees; their world is pleasantly decorated and cozy, perfect for an embrace. 




Happy Lovers reflects the sincerity and passion in the hearts of lovers, as well as the curiosity contained in their soul. Their eyes are mirrors representing harmony as well as conjugal bliss and unity. Only when they look away do they feel the sting of separateness. 

Most importantly is that which we cannot see, that story which lies behind them and holds a particular importance. Lying upon an edenic bed, cooled by the shade of their sacred tree, the two lovers forget themselves ... she, graceful and charming; he, regaining his strength, his soul healed ... their fortitude is their shared love. 

Some lovers hide a secret they dare not unveil ... the time in this picture is dusk, it represents the gently stirring embers of time. The light that shines upon them is a metaphor for love; it overpowers the one who loves so that they can think only of the object of their affection and desire. It also represents the consummation of their love, the fire that results from their union. 

But fire also stands for a purifying and illuminating experience. 

Mais vous, Madame, à qui ressemblez-vous?
A nul object; et je n'ai point mémoire
D'en avoir vu que m'ait semblé si doux.
Nulle beauté n'approche de la vôtre
Or me voice d'un mal chu dans un autre:
Je transissais,  je brûle maintenant.


As our gaze comes to a close, we leave with a sense of pure contentment. The strings of time require constant attention, but they are not selfish creatures, they indulge in idleness only because they have given themselves to happiness and to each other. Their imaginative appetite narrates and illustrates beauty and allows our minds to run free. They immortalize the "carpe diem" advice for lovers, which La Fontaine warns that Le temps est cher en amour comme en guerre ... ("In war or love, time is equally dear) ... 

Happy Lovers is analogous to a high spiritual experience, one that enlightens the soul, transforms the mind, consumes the heart, and engulfs the soul ... their love is the source of creative genius. 

Their smiles rise above the landscape with a burning, unquenchable desire for a higher level of pure happiness and aesthetic pleasure, a fusion of reflection and fire that delights and captures, enchants and frees us from our daily life... uplifting us to a level of transcendent bliss that can only be obtained by contemplating true love. 

























Monday, July 20, 2015

Kidding Ourselves




I recently had the pleasure of playing a game called Liar's Poker with two people whom I know well. Together with a family friend, we played a few rounds of friendly card games, Liar's Poker being the funnest of them all: assuming laughter is our measure of agreed-upon consensus. 

Liar's Poker is a delightful game of kidding ourselves and kidding others. Only, the best liar's win! Consistently, that is ... 

On occasion us literal folk "Get Lucky!"


What does luck have to do with winning? 




Jerome K. Jerome once said, "It is always the best policy to tell the truth, unless, of course, you are an exceptionally good liar." 

Bravo, Old Chap!


Couldn't have said it better, myself!


As much as we'd ALL like to think of ourselves as "good liars" the reality is, 

"It is hard to be a good liar, even when it comes to your own intentions, which only you can verify." 

[Steven Pinker, How the Mind Works, pg. 421; Kidding Ourselves].





Occasionally lying is about luck. After all when someone "pulls off" a lie, they often feel "lucky" that no one was paying close enough attention. In a game of paying close attention to what one is doing in relation to other, it is simultaneously the art of paying attention to what other's are doing. No easy task depending upon the mindset. 

Closely related behind luck lies a mindset. The mind that pays more attention to itself -vs- the mind that pays more attention to others. 

Emotionally charged, highly complex, high intensity people generally pay more attention to their own thoughts, with the thoughts of others providing them with a never-ending stream of fodder for analytical self-examination. 

The result of this Descartian-like examination is a direct projection of the individual's primary or core objective; be that "have fun in life" ... "give to others" ... or "sit back and take it all in" ... and then do - or don't do - something about it. 

It is one of these primary motivators which fuels the person's emotional system, the feel-good or feel-bad modulator of whether or not we have achieved our goal (relates to our perception of reward and punishment). 



Lying well is equally distributed across the range of personality types, with quiet people making the best liars. Quiet people are perpetually overlooked, even by those closest to them; those who generally do most of the talking. 

The persons doing most of the listening learn the most. Those who do most of the talking are often times their subjects; unless they're not actually paying attention. Some quiet individuals are just as focused on themselves as are their more voiceterous counterparts. These masters of letting others take center stage quietly and un-perceptively disappear into their own worlds while others rattle on. 

The hidden declarations behind those things we don't intentionally share are as visible as the things we do share - to someone who is paying close attention. The Reader, like the quiet person, considers the author or speaker in relation to the penning or rhetoric. Even if the author or speaker thinks him or herself removed from the subject matter at hand, the existence of the link itself serves as an indicator of relation, irrespective the density of the thread connecting the two - with the connecting thread precisely matching our perception of self in relation to other. 

Gorgeous Bad Boy of Neuroscience
Steven Pinker



According to Steven Pinker, intentions come from emotions, and emotions have evolved displays on our faces and bodies. He goes on to say that unless you're a master of the Stanislavsky method, you will have trouble faking them; in fact, they've probably evolved because they were hard to fake. 

Expressionism is a quality of inner experience, with the emotions or expressive qualities communicated through emphasis and distortion, which can be found in the below artwork by Charles Lebrun (French, 1619-1690), Expressions of the Spirit's Passions, c. 1663, engraving.




Lying is no easy task. In fact, it's downright exhausting - more so if it is with someone whom we are close because they are more familiar with our responses. 

In this respect, Liar's Poker is a fascinating game to play with others. To see if you can recognize the telltale markers of elevated breathing, half-smiles, and those little twinkles someone gets in their eye when they're being playful. This is what has attracted generations of people to card games. 

Just as *an artist must say without saying, so too a liar must distort their hardwired responses. These hardwired responses are the rationale behind polygraphs, the so-called lie detectors. They are also the rationale those highly skilled people evolved in lie detection utilize. The more often the utilize it, the more so-called Machiavellian we consider them. 

Analytical individuals skilled in observation and analysis make the best liars. Natural liars are those individuals who quickly dispose themselves to mimicry. These human mimickers learn to utilize mimicry as their form of communication. Mimicry slows things down to a respectable pace, one conducive of deeper examination. 



In many religions lying is a BIG NO-NO. To whatever philosophical belief system one ascribes, lying is universally recognized as something we shouldn't do. The notion of "right" and "wrong" are associated with reward and punishment. With all of life's experiences reinforcing this concept from birth forward, it is no wonder there is so much to learn by playing games where kidding and concealing take center stage. In terms of polite social interaction, Liar's Game is very provocative. 

For those forever trumped by their own knowledge, there's the annoying fact that some propositions logically entail others. These poor beings are essentially in possession of knowledge they must continually assess in terms of its relevance or value to a given interaction. 

One might respond to this discriminating challenge with resentment, in particular if one leans toward divergent interactions; however, one might also respond to this experience as an invitation to play, an opportunity to learn more by joining in someone else's sandbox to play the game from another's point of view. 




Games that allow us the opportunity to kid ourselves and kid others heighten our ability to recognize our self in relation to other. Independent of where we are in relation to our understanding of self in relation to other, opportunities for further understanding of our intentions and the intentions of others emerge. From the delightfully surprising information we gleam from the experience to the new strategies we develop to the bigger pictures we envision, games of self deception allow us to examine the theories we hold, conscious and subconscious, alike. 

The conscious mind sometimes hides the truth from itself in order to hide truth from others. The result is that truth is hidden from our own examination. These hidden truths sometimes serve us well, but not always. 

If one wishes to leave their lives up to chance or luck, then by all means, enjoy the unveiling, one card at a time. 


If you're the type of person who wishes to look at the hand you're holding prior to betting, or if you're a person playing to win, the ego's defense mechanism (such as repression, projection, denial, and rationalization - the most cunning human mechanism) is your mentor. For these people truth is useful. In this mindset truth is registered as a "utility" and walled off from the parts that interact with others. 

No wonder the notion of Freud and the subconscious play center stage. When one is more inclined toward disbelief and skepticism, one resonates with skeptics like George Orwell and cynics like George Castanza. For these types of individuals, there is always a hidden secret to be exposed. What one does with that is entirely a matter of taste. 



Then there are those people who good-hearted, well-meaning people who regularly look under the surface. How far they perceived can only be assumed by their actions. Someone who resonates with the above quote might resonate for a variety of reasons, while others might say something like: 



There are some individuals who still think of others as a potential playmates or future best friends. These individuals retain larger portions of that early childhood playground brain in relation to others where there is no need for lying, as it only gets in the way of having a good time. 

But what about those phenomenologists, you ask? 



Phenomenology inclines one to seek out wisdom writings, the thoughts of great statesman, writer-thinkers, lovers of wisdom, poets, and enlightenment thinkers ...such as Abraham Lincoln, Cicero, Plato, Octavio Paz and Voltaire. 

But what about François La Rochefoucauld? Didn't he say that, "Our enemies' opinion of us comes closer to the truth than our own." 

Maybe what Rochefoucaul was really saying was that he thought about others so much that he presumed they thought a lot about him, just as often. 


Not from what I've observed


In reality, people spend an extraordinary amount of time thinking about themselves - not others. Ludwig Wittgenstein said that, 

"If there were a verb meaning "to believe falsely," it would not have any significant first person, present indicative." 

What do you think, Mr. Twain?  



Mark Twain told us that there was one surefire way to find out if a man is honest: 

Ask him, if he says yes, you know he's crooked.


According to Twainian logic, 
I'm crooked


I didn't realized I was "crooked" - or did I? 

You see, that's just it. It is difficult to see clearly the emotions without first filtering them through our own lens, without examining them in relation to how we perceive the world. We can only know of another's intentions according to our own perception and our belief about where others are in relation to our perception, be it hidden or revealed. 

Neuroscientist Michael Gazzaniga has shown that the brain blithely weaves false explanations about its notions. In terms of how the brain is wired, we can be actively utilizing one side of our brain without the other side being aware of it. This anomaly is best understood when considering the split-brain patients who have their cerebral hemispheres surgically disconnected as a treatment for epilepsy. 

Hundreds of experiments in social psychology tell us that people present themselves to others by putting themselves in the best possible light. 

Stepford Wives

A reader of Garrison Keillor would describe the fictitious community of Stepford as one of those places "where the women are good-looking, the men are smart, and all the children are above average." 

Sounds like Silicon Valley...


Most people consider themselves above average in the traits they value most: leadership, sophistication, athletic prowess, driving skills, physical appeal or beauty. 

When these people play Liar's Game they attribute their success to their own skill and their failures to the luck of the draw or to their idyllic adherence to honesty. When they are fooled by a game or experiment, they consider it a compliment to their singularly focused goodness, to their true nature, which is always registering due north.



For these people there is no contradiction between "It's hard to lie" and the proposition "I didn't realize lying was so cunning." 

According to Eliot Aronson these people doctor their beliefs in order to contradict the proposition "I am nice and in control." 

Besides, who would want to believe otherwise? Doing so would be blatant evidence of otherwise, that we are not as beneficent and effective as we would like people to think. The urge to reduce the distinction is the urge to get our stories straight. 




It's one thing to grasp the deception of others, it's another to glimpse our own. There are moments in the game when little nerves are activated. If everyone knows when we are lying, how can we possibly keep our private thoughts private? 

Maybe we can't. Maybe we should actually play Liar's Game to teach ourselves how not to lie rather than to hone our ability to successfully do so ... focusing on how not to subconsciously deceive others, and how not to accept that which we have not fully examined. 

Cue Descartes. 




Over time, our attitudes about lying evolve. Those things we perceive as being full of innuendo, when reconsidered, sound gentler, even reasonable. Notably our attitudes are always biased and continually shifting. 

Shifting through our biases is no easy task, as Descartes so eloquently and with great insight reminds us: 

  • Good sense is, of all things among men, the most equally distributed; for every one thinks of himself so abundantly provided with it, that those even who are the most difficult to satisfy in everything else, do not usually desire a larger measure of this quality than they already possess. 


  • The greatest minds, as they are capable of the highest excellences, are open likewise to the greatest aberrations. 


  • I know how very liable we are to delusion in what relates to ourselves, and also how much of the judgments of our friends are suspected when given in our favor. 


  • They who set themselves to give precepts must of course regard themselves as possessed of greater skill than those to whom they prescribe. 


  • I was convinced that I had advanced no farther in all my attempts at learning, than the discovery at every turn of my own ignorance. 


  • The grace of fable stirs the mind. Eloquence has incomparable force and beauty. 


  • Philosophy affords the means of discoursing with an appearance of truth on all matters, and commands the admiration of the more simple. 


  • It is useful to know something of the manners of different nations, that we may be enabled to form a more correct judgment regarding our own, and be prevented from thinking that everything contrary to our customs is ridiculous and irrational - a conclusion usually come to by those whose experience has been limited to their own country. 


  • On the other hand, when too much time is occupied in traveling, we become strangers to our own native country. 


  • Those in whom the faculty of reason is predominant, and who most skillfully dispose their thoughts with a view to render them clear and intelligible, are always the best able to persuade others of the truth of what they lay down. 


Not all disposed as such exercise this skill for personal gain


  • There is not a single matter in philosophy that is not still in dispute, and nothing, therefore, is above doubt. 


  • Considering the number of conflicting opinions touching a single matter, how can only one be true? 


  • I had always a most earnest desire to know how to distinguish the true from the false, in order that I might be able clearly to discriminate the right path in life, and proceed in it with confidence. 


  • I at length resolved to make myself an object of study, and to employ all the powers of my mind in choosing the paths I ought to follow. 




Other than those Siren's of discourse, the caprice of human interaction, the patterns of human behavior that trend, the little or not moderation of thought that lies behind many human interactions, what contributes to the complexity of our minds and the games we play is precisely a relation to how we perceive the world, how we kid ourselves and others into thinking one thing when sometimes we are thinking about an entirely different matter altogether. 

But we are not all perpetual dupes of our own chicanery. While it is true that many buy into their own hand, not all are inefficient in examination, in particular examination in relation to other. 

Games of trickery also allow us to act out new roles. To purposely experience those things we (think we) don't employ, vacillating between cluelessness and cunningness. 

The nonjudgmental, noncompetitive, nonmaterialistic, affectionate, honest, unmanipulative, unaggressive, communal, and unconcerned with status delight in games of trickery much like how they delight in moon-gazing, music, and dancing. There's a special freedom that goes along with acting out harmless social experiments. 

Doing so offers us a glimpse into our higher reasoning. It liberates us with new thoughts, and renews our relationship with self. The enduring wholeness and beauty of games enables us to better understand ourselves in relation to society, nature, and self. 



Each hand greets us with a new opportunity to have a conversation with one of our ideals, and is perhaps reminiscent of the free-love communes of nineteenth-century America, the socialist utopias of the twentieth century, the practice of Bohemianism, and all those other movements accumulating hordes of young seekers of truth and beauty. 

Human universals are found in all cultures. They include prestige and status, inequality of power and wealth, property, inheritance, reciprocity, punishment, modesty, regulations, preferences for partners, divisions of labor by group, hostility to other groups and conflicts within the group. The scale of plots play out with every new shuffle of the deck. 

Our stories of triumph and conflict forever retold by history's winners and losers. But this does not mean that losers lose. It merely means that there is a territorial imperative associated with each experience, and throughout life we hold and consider many so called perspectives. 

Natural selection invites cooperation and generosity just as often as it engineers problems. The difficulty of seeing the hand in play is directly related to our on-board computer, the sophisticated programs we have continually running in the background. 

The mind computes and engineers by natural selection, our motives for playing are tailored as much by truth as they are by falsehoods. Liar's poker is one of those social games, that while seemingly straightforward, invites powerful agents of examination. 

Once we know how to play, one we recognize how we relate to and portray ourselves to others, we can better conduct ourselves according to our core or primary motivation; be that "have fun in life" ... "give to others" ... or "sit back and take it all in" ... and then do - or don't do - something about it. 



It's one thing to play the game,
it's quite another to play again.
~Soph




*Duke Ellington (1899-1974), American Jazz composer, pianist, and bandleader.