Hi 3WD,
3WD
If you were like me when you finished them you had, as a whole, some
vague intuitive sense of rightness, goodness, truthfulness in them. They
struck a chord. They squared ,to a large degree, with your experiences.
Absolutely. But, like you said, that sense of rightness was very vague,
and it wasn't until I joined the forum that people set me straight about
what it really meant. Then I didn't like it.
3WD
But some questions lingered, so you sought the council of others and
eventually were ushered into the halls of the "science critics".
Yes, I joined because I didn't understand the MOQ to my satisfaction. But
there were no "science critics" here when I joined and no "science critic"
has joined since. I'm the only vocal "science critic". Struan has only
taken on the mantle of science since he's rejoined, and the extent to which
he runs with it remains to be seen.
3WD:
There, using the tools of their trade, they sliced and diced the
paintings into smaller a smaller pieces, pointing out how this pigment
really couldn't or shouldn't be used here, the line here was blurred,
the shadows here too vague, the strokes really quite crude and slowly
over time convinced you that what you bought was a fake, a crude copy, a
rigourously unoriginal piece of garbage. How could you be so dumb! What
possibily could you have seen in this shit?
I don't buy your argument that I'm slicing and dicing the art that is
Lila. Lila is first and foremost about a metaphysics. If you think
creating strawmen, being contradictory, misrepresenting science, and
leaving things vague or unexplained in Lila is immune to criticism because
it is an expression of art which paints a sometimes unflattering portrait
of an imperfect man struggling for the good, then I disagree. This
kind of thing worked beautifully in ZMM, but it has no place in a
presentation of a metaphysics. These things only serve to mislead and
confuse what is intended to be a serious doctrine.
Glenn
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