The ‘Objective Scholar’

 

If the self-scuttling is incomplete, we create the modern ‘Objective Scientist’.

‘Trying to see straight’ is a tenth of an inch away from: Seeing Straight. You cannot: ‘Wish to be Objective’; then ‘Objective’ becomes your new subjective bias. You cannot: ‘Prefer to not-prefer’; then ‘Not-Preference’ becomes your new preference.

Modern scientific observation methods, cut loose from the  monastic disciplines that were a requirement in the first houses of Learning, ignorant of the simplest Meditative and Mindfulness Practices, severs the observer from that which is observed.

Investigating the self-referential loop is effectively barred. An elaborate and intricately layered reality is built which at its core is absurd.

Instead of standing on True Nothing and becoming ‘Subdued to the material at hand’, the modern Scientist sits on a mountain of venerated paradigms, inherited conventions, embedded preferences and unspoken presumptions.

The perch of the Scientist, the post from which he views, is located at an arbitrary point, a point no Scientist would accept as legitimate if it were within his own domain of investigation.

A man conditioned over many years to be ‘Objective’ by a studied process of limiting the personal, limiting the ‘Subjective’. Out there is the ‘Objective, Observed World’, and behind this fog of the emotional, the wishful and the personal, lies the ‘Subjective, Seeing Me’.

And he builds a self-created ‘Objective World’ that is itself deeply sourced within his own unexamined ‘Subjective Self’.

The way out is well-mapped. The Observer must be investigated first before inquiry on the Observed. The lens must turn inwards. [‘Meditation‘]

Shūnyam is not against Science. Get to it first and then go back to the Lab. And look again.

 


None of this is unique to the profession of Science. Art Theory for instance, has long struggled with the notion of ‘Objective’ criteria, a fundamental pillar of the defense of Culture itself and the confusion is palpable in the wrenching obscurantism of today’s Art Dialogues [‘Tom Wolfe‘].

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