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The Ethics of Belief: The Great English Mathematician and Philosopher William Kingdon Clifford on the Discipline of Doubt and How We Can Trust a Truth

“It is wrong always, everywhere, and for anyone, to believe anything upon insufficient evidence.”

The Ethics of Belief: The Great English Mathematician and Philosopher William Kingdon Clifford on the Discipline of Doubt and How We Can Trust a Truth

“The confidence people have in their beliefs is not a measure of the quality of evidence but of the coherence of the story that the mind has managed to construct,” Nobel-winning psychologist Daniel Kahneman observed in summarizing his pioneering behavioral psychology studies of how and why our minds mislead us. And yet our beliefs are the compass by which we navigate the landscape of reality, steering our actions and thus shaping our impact on that very reality. The great physicist David Bohm captured this inescapable dependency memorably: “Reality is what we take to be true. What we take to be true is what we believe… What we believe determines what we take to be true.”

How, then, do we align our beliefs with truth rather than illusion, so that we may perceive the most accurate representation of reality of which the human mind is capable, in turn guiding our actions toward noble and constructive ends?

That’s what the English mathematician and philosopher William Kingdon Clifford (May 4, 1845–March 3, 1879) explored with uncommon insight and rhetorical elegance nearly a century and a half before the golden age of “alternative facts.”

William Kingdon Clifford by John Collier

By the time tuberculosis claimed his life at the unjust age of thirty-three, Clifford had revolutionized mathematics by developing geometric algebra, had written a book of fairy tales for children, and had become the first person to suggest that gravity might be a function of an underlying cosmic geometry, developing what he called a “space-theory of matter” decades before Einstein transformed our understanding of the universe by bridging space and time into a geometry of spacetime.

But one of Clifford’s most lasting contributions is an essay titled “The Ethics of Belief,” originally published in an 1877 issue of the journal Contemporary Review and later included in Reason and Responsibility: Readings in Some Basic Problems of Philosophy (public library). In it, Clifford probes the nature of right and wrong, the infernal abyss between belief and truth, and our responsibility to the truth despite our habitual human deviations into unreason, delusion, and rationalization.

Clifford, at only thirty-two, begins with a parable containing an ethical thought experiment:

A shipowner was about to send to sea an emigrant-ship. He knew that she was old, and not overwell built at the first; that she had seen many seas and climes, and often had needed repairs. Doubts had been suggested to him that possibly she was not seaworthy. These doubts preyed upon his mind, and made him unhappy; he thought that perhaps he ought to have her thoroughly overhauled and refitted, even though this should put him at great expense. Before the ship sailed, however, he succeeded in overcoming these melancholy reflections. He said to himself that she had gone safely through so many voyages and weathered so many storms that it was idle to suppose she would not come safely home from this trip also. He would put his trust in Providence, which could hardly fail to protect all these unhappy families that were leaving their fatherland to seek for better times elsewhere. He would dismiss from his mind all ungenerous suspicions about the honesty of builders and contractors. In such ways he acquired a sincere and comfortable conviction that his vessel was thoroughly safe and seaworthy; he watched her departure with a light heart, and benevolent wishes for the success of the exiles in their strange new home that was to be; and he got his insurance-money when she went down in mid-ocean and told no tales.

What shall we say of him? Surely this, that he was verily guilty of the death of those men. It is admitted that he did sincerely believe in the soundness of his ship; but the sincerity of his conviction can in no wise help him, because he had no right to believe on such evidence as was before him. He had acquired his belief not by honestly earning it in patient investigation, but by stifling his doubts. And although in the end he may have felt so sure about it that he could not think otherwise, yet inasmuch as he had knowingly and willingly worked himself into that frame of mind, he must be held responsible for it.

Clifford adds a layer of ethical complexity by arguing that even if the ship hadn’t sunk, the shipowner would be guilty of the same error of judgment, for he “would not have been innocent, he would only have been not found out.” He writes:

The question of right or wrong has to do with the origin of his belief, not the matter of it; not what it was, but how he got it; not whether it turned out to be true or false, but whether he had a right to believe on such evidence as was before him.

[…]

For it is not possible so to sever the belief from the action it suggests as to condemn the one without condemning the other. No man holding a strong belief on one side of a question, or even wishing to hold a belief on one side, can investigate it with such fairness and completeness as if he were really in doubt and unbiased; so that the existence of a belief not founded on fair inquiry unfits a man for the performance of this necessary duty.

A century before psychologists came to identify such cognitive flaws as confirmation bias and the backfire effect, Clifford adds:

Nor is it that truly a belief at all which has not some influence upon the actions of him who holds it. He who truly believes that which prompts him to an action has looked upon the action to lust after it, he has committed it already in his heart. If a belief is not realized immediately in open deeds, it is stored up for the guidance of the future. It goes to make a part of that aggregate of beliefs which is the link between sensation and action at every moment of all our lives, and which is so organized and compacted together that no part of it can be isolated from the rest, but every new addition modifies the structure of the whole. No real belief, however trifling and fragmentary it may seem, is ever truly insignificant; it prepares us to receive more of its like, confirms those which resembled it before, and weakens others; and so gradually it lays a stealthy train in our inmost thoughts, which may someday explode into overt action, and leave its stamp upon our character for ever.

In a sentiment evocative of the Indian poet and philosopher Tagore’s reflections on the interdependence of existence, Clifford takes care to highlight the sociological tapestry out of which each strand of our private beliefs is frayed:

No one man’s belief is in any case a private matter which concerns himself alone. Our lives our guided by that general conception of the course of things which has been created by society for social purposes. Our words, our phrases, our forms and processes and modes of thought, are common property, fashioned and perfected from age to age; an heirloom which every succeeding generation inherits as a precious deposit and a sacred trust to be handled on to the next one, not unchanged but enlarged and purified, with some clear marks of its proper handiwork. Into this, for good or ill, is woven every belief of every man who has speech of his fellows. A awful privilege, and an awful responsibility, that we should help to create the world in which posterity will live.

In a passage of astounding pertinence today, as dangerous ideologies divorced from truth offer false comfort in “alternative facts” to the detriment of our common good, Clifford cautions:

Belief, that sacred faculty which prompts the decisions of our will, and knits into harmonious working all the compacted energies of our being, is ours not for ourselves but for humanity. It is rightly used on truths which have been established by long experience and waiting toil, and which have stood in the fierce light of free and fearless questioning. Then it helps to bind men together, and to strengthen and direct their common action. It is desecrated when given to unproved and unquestioned statements, for the solace and private pleasure of the believer; to add a tinsel splendour to the plain straight road of our life and display a bright mirage beyond it; or even to drown the common sorrows of our kind by a self-deception which allows them not only to cast down, but also to degrade us. Whoso would deserve well of his fellows in this matter will guard the purity of his beliefs with a very fanaticism of jealous care, lest at any time it should rest on an unworthy object, and catch a stain which can never be wiped away.

Three centuries after Western philosophy founding father and reason crusader René Descartes asserted that “it is not enough to have a good mind; the main thing is to apply it well,” Clifford adds:

In regard, then, to the sacred tradition of humanity, we learn that it consists, not in propositions or statements which are to be accepted and believed on the authority of the tradition, but in questions rightly asked, in conceptions which enable us to ask further questions, and in methods of answering questions. The value of all these things depends on their being tested day by day. The very sacredness of the precious deposit imposes upon us the duty and the responsibility of testing it, of purifying and enlarging it to the utmost of our power. He who makes use of its results to stifle his own doubts, or to hamper the inquiry of others, is guilty of sacrilege which centuries shall never be able to blot out.

How to purify and enlarge our access to truth is what Carl Sagan outlined a century later in his timeless Baloney Detection Kit, but Clifford himself crystallizes the most effective approach in a wonderfully succinct dictum:

It is wrong always, everywhere, and for anyone, to believe anything upon insufficient evidence.

Complement with Lewis Thomas, one of the most enchanting writers of the past century, on the transmutation of ignorance into truth, Karl Popper on the crucial difference between truth and certainty, and Laura (Riding) Jackson’s unusual and profound 1967 manifesto for the telling of truth.

BP

Ursula K. Le Guin on Redeeming the Imagination from the Commodification of Creativity and How Storytelling Teaches Us to Assemble Ourselves

“Literature is the operating instructions. The best manual we have. The most useful guide to the country we’re visiting, life.”

Ursula K. Le Guin on Redeeming the Imagination from the Commodification of Creativity and How Storytelling Teaches Us to Assemble Ourselves

“The imagination,” wrote the trailblazing philosopher Mary Wollstonecraft in a 1794 letter, “is the true fire, stolen from heaven, to animate this cold creature of clay, producing all those fine sympathies that lead to rapture, rendering men social by expanding their hearts, instead of leaving them leisure to calculate how many comforts society affords.” And yet somehow, in the centuries since, we have increasingly lost sight of the imagination’s rapturous rewards and come to see it as a commodity of what we now call “the creative industry” — something calculable and efficient, useful in maximizing society’s comforts and business’s profits. Much as today’s archetypal Silicon Valley characters are pragmatizing Eastern philosophy and ancient meditation practices as tools for “optimizing” their “performance,” the imagination — that pinnacle of our cognitive evolution and seedbed of our core humanity — is being co-opted for purposes that have little to do with animating our sympathies and expanding our hearts.

More than two centuries after Wollstonecraft, Ursula K. Le Guin, another woman of extraordinary intellect and imaginative prowess, sets out to redeem the imagination from the grip of consumerist commodification in a magnificent 2002 lecture titled “Operating Instructions,” later included in Le Guin’s altogether fantastic nonfiction collection Words Are My Matter: Writings About Life and Books, 2000–2016, with a Journal of a Writer’s Week (public library).

Ursula K. Le Guin by Benjamin Reed

Le Guin writes:

In America the imagination is generally looked on as something that might be useful when the TV is out of order. Poetry and plays have no relation to practical politics. Novels are for students, housewives, and other people who don’t work. Fantasy is for children and primitive peoples. Literacy is so you can read the operating instructions. I think the imagination is the single most useful tool mankind possesses. It beats the opposable thumb. I can imagine living without my thumbs, but not without my imagination.

I hear voices agreeing with me. “Yes, yes!” they cry. “The creative imagination is a tremendous plus in business! We value creativity, we reward it!” In the marketplace, the word creativity has come to mean the generation of ideas applicable to practical strategies to make larger profits. This reduction has gone on so long that the word creative can hardly be degraded further. I don’t use it any more, yielding it to capitalists and academics to abuse as they like. But they can’t have imagination.

Imagination is not a means of making money. It has no place in the vocabulary of profit-making. It is not a weapon, though all weapons originate from it, and their use, or non-use, depends on it, as with all tools and their uses. The imagination is an essential tool of the mind, a fundamental way of thinking, an indispensable means of becoming and remaining human.

Le Guin observes that like any tool, the imagination requires that we first learn how to use it — or, rather, that we unlearn how to squander it. Storytelling, she argues, is the sandbox in which we learn to use the imagination:

Children have imagination to start with, as they have body, intellect, the capacity for language: things essential to their humanity, things they need to learn how to use, how to use well. Such teaching, training, and practice should begin in infancy and go on throughout life. Young human beings need exercises in imagination as they need exercise in all the basic skills of life, bodily and mental: for growth, for health, for competence, for joy. This need continues as long as the mind is alive.

When children are taught to hear and learn the central literature of their people, or, in literate cultures, to read and understand it, their imagination is getting a very large part of the exercise it needs.

Nothing else does quite as much for most people, not even the other arts. We are a wordy species. Words are the wings both intellect and imagination fly on. Music, dance, visual arts, crafts of all kinds, all are central to human development and well-being, and no art or skill is ever useless learning; but to train the mind to take off from immediate reality and return to it with new understanding and new strength, nothing quite equals poem and story.

Illustration by Olivier Tallec from This Is a Poem That Heals Fish by Jean-Pierre Simeón

Virginia Woolf considered memory the seamstress that threads our lives together, but it is story — our inner storytelling — that orders memory into a coherent thread; it is story that, as Susan Sontag memorably observed, can “reduce the spread and simultaneity of everything to something linear, a path.” Our life-paths are paved with story — stretching back, the stories we tell ourselves about what happened to us, why it did, and how it made us who we are; stretching forward, the stories we tell ourselves about what is possible, what we want to achieve, and who we want to become.

In consonance with Rebecca West’s assertion that “art is not a plaything, but a necessity… a cup into which life can be poured and lifted to the lips and be tasted,” Le Guin considers this essential function of story in sculpting our ability to be at home in the world and its formative role in our becoming:

Through story, every culture defines itself and teaches its children how to be people and members of their people.

[…]

A child who doesn’t know where the center is — where home is, what home is — that child is in a very bad way.

Home isn’t Mom and Dad and Sis and Bud. Home isn’t where they have to let you in. It’s not a place at all. Home is imaginary.

Home, imagined, comes to be. It is real, realer than any other place, but you can’t get to it unless your people show you how to imagine it—whoever your people are. They may not be your relatives. They may never have spoken your language. They may have been dead for a thousand years. They may be nothing but words printed on paper, ghosts of voices, shadows of minds. But they can guide you home. They are your human community.

All of us have to learn how to invent our lives, make them up, imagine them. We need to be taught these skills; we need guides to show us how. Without them, our lives get made up for us by other people.

Illustration by Dasha Tolstikova for ‘The Jacket’ by Kirsten Hall. Click image for more.

But that self-invention, Le Guin cautions, is not a solitary act — it takes place at the communal campfire where our essential stories of being are co-created and told. Building on the ideas in her exquisite earlier meditation on telling and listening, she writes:

Human beings have always joined in groups to imagine how best to live and help one another carry out the plan. The essential function of human community is to arrive at some agreement on what we need, what life ought to be, what we want our children to learn, and then to collaborate in learning and teaching so that we and they can go on the way we think is the right way.

[…]

Nobody can do anything very much, really, alone.

What a child needs, what we all need, is to find some other people who have imagined life along lines that make sense to us and allow some freedom, and listen to them. Not hear passively, but listen.

Listening is an act of community, which takes space, time, and silence.

Reading is a means of listening.

Seven decades after Hermann Hesse made his beautiful case for why we read and always will, however technology may evolve, Le Guin adds:

The technology is not what matters. Words are what matter. The sharing of words. The activation of imagination through the reading of words.

The reason literacy is important is that literature is the operating instructions. The best manual we have. The most useful guide to the country we’re visiting, life.

Words Are My Matter is a tremendous read in its totality, exploring questions of art, storytelling, gender, freedom, dignity, and what happens when we go to sleep. Complement this particular portion with William Blake’s searing defense of the imagination and Ada Lovelace on its two core faculties, then revisit Le Guin on being a “man,” the sacredness of public libraries, imaginative storytelling as a force of freedom, what beauty really means, where good ideas come from, and writing as falling in love.

BP

Paul Gauguin’s Advice on Overcoming Rejection, Breaking Free of Public Opinion, and Staying True to One’s Creative Vision

“One day, you will feel a joy in having resisted the temptation to hate, and there is truly intoxicating poetry in the goodness of him who has suffered.”

Paul Gauguin?s Advice on Overcoming Rejection, Breaking Free of Public Opinion, and Staying True to One?s Creative Vision

The French post-impressionist painter Paul Gauguin (June 7, 1848–May 8, 1903) left an indelible mark on creative culture as a major influence of Picasso and Matisse, and the person whom Van Gogh considered his greatest kindred spirit. He arrived at art via a bittersweet path — after the early trauma of his father’s death, the young Gauguin turned to painting as a way of transmuting sorrow into beauty, but the specter of suffering never left him.

This, perhaps, is why he was able to meet with remarkable sympathy the suffering of other artists, particularly those whom he saw as courageous innovators breaking with the status quo and paying the price — the same disposition of daring for which E.E. Cummings would be so hideously condemned by traditionalists a generation later before becoming one of the most beloved artists in his own field of poetry.

Self-Portrait with Portrait of Émile Bernard (Les misérables), Paul Gauguin, 1888 (via Van Gogh Museum)

Among those young mavericks was the French painter, poet, essayist, and playwright Émile Bernard.

In 1888, at the age of twenty, Bernard walked more than 500 kilometers from Paris to Pont-Aven to see Gauguin, his artistic hero. The elder painter, twenty years his senior, quickly came to admire Bernard’s creative bravery and innovative technique. The two formed a warm friendship, which would later unravel into artistic rivalry, but the alchemy of their relationship forever altered both of their aesthetics and the course of modern art itself, planting the seed of Symbolism.

Self-Portrait with Portrait of Gauguin, Émile Bernard, 1888 (via Van Gogh Museum)

In the autumn of 1889, 41-year-old Gauguin received a distraught letter from his young friend after a particularly harsh critical reception of Bernard’s paintings. In a reply found in Paul Gauguin: Letters to His Wife and Friends (public library), the painter writes to his 21-year-old friend:

Your disconsolate letter reaches a countryside as sorrowful. I understand the bitterness which sweeps over you at the foolish reception of you and your works… What would you rather have? a mediocrity which pleases everybody or a talent which breaks new ground. We must choose if we have free will. Would you have the power of choice if choosing leads to suffering — a Nessus shirt which sticks to you and cannot be stripped off? Attacks on originality are to be expected from those who lack the power to create and shrug their shoulders.

In a sentiment that calls to mind young Beethoven’s joy of suffering overcome, Gauguin adds:

As for me, I own myself beaten — by events, by men, by the family, but not by public opinion. I scorn it and I can do without admirers. I won’t say that at your age I was like this, but by the exertion of sheer will power, that is what I am like to-day. Let them study carefully my last pictures and, if they have any feelings at all, they will see what resigned suffering is in them — a cry wrung from the heart… But you, why do you suffer, too? You are young, and too early you begin to carry the cross. Do not rebel; one day, you will feel a joy in having resisted the temptation to hate, and there is truly intoxicating poetry in the goodness of him who has suffered.

Complement with the illustrated story of Gauguin’s childhood, then revisit Janis Joplin on creativity and rejection, Ben Shahn on nonconformity, Henri Rousseau’s heartening tale of success after a lifetime of rejection, and Van Gogh — who was also an ardent champion of the young Bernard — on taking risks and how inspired mistakes propel us forward.

BP

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