The Ghost Scene from ‘The Castle of Otranto’ ( x )
Illustration by Susanna Duncombe (1725-1812)
The Ghost Scene from ‘The Castle of Otranto’ ( x )
Illustration by Susanna Duncombe (1725-1812)
( x )
(Source: gravechild666)
Western philosophy is traditionally concerned with contrasting one grid with another grid, and amending grids in hopes of finding a perfect one that will account for all reality and will, hence, (say unenlightened westerners) be True. This is illusory; it is what we Erisians call the Aneristic Illusion (Aneristic DE-lusions, or anerisms, are discussed in the document on Eristic Avatars, elsewhere). Some grids can be more useful than others, some more beautiful than others, some more pleasant than others, etc., but none can be more True than any other.
Disorder is simply unrelated information viewed through some particular grid. But, like “relation”, no-relation is a concept. Male, like female, is an idea about sex. To say that male-ness is “absence of female-ness”, or vice versa, is a matter of definition and metaphysically arbitrary. The artificial concept of no-relation is the Eristic Principle.

‘Rubáiyát of Omar Khayyám’ rendered into English verse by Edward Fitzgerald; illustrated in colour and in line by René Bull. Published 1913 by Hodder and Stoughton.’
See the complete book here.
:D
blueruins:Alice’s Adventures Under Ground. The original, handwritten manuscript, illustrated by Lewis Carroll.
The belief that “order is true” and disorder is false or somehow wrong, is the Aneristic Illusion. To say the same of disorder, is the Eristic Illusion.
The point is that (little-t) truth is a matter of definition relative to the grid one is using at the moment, and that (capital-T) Truth, metaphysical reality, is irrelevant to grids entirely. Pick a grid, and through it some chaos appears ordered and some appears disordered. Pick another grid, and the same chaos will appear differently ordered and disordered.
Reality is the original Rorschach. Verily! So much for all that.
”(via compagniadiscordia)
Hilda Doolittle, from ‘Acon’.
(via caveofhypnos)