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2 " But it so happens that everything on this planet is, ultimately, irrational; there is not, and cannot be, any reason for the causal connexion of things, if only because our use of the word " reason" already implies the idea of causal connexion. But, even if we avoid this fundamental difficulty, Hume said that causal connexion was not merely unprovable, but unthinkable; and, in shallower waters still, one cannot assign a true reason why water should flow down hill, or sugar taste sweet in the mouth. Attempts to explain these simple matters always progress into a learned lucidity, and on further analysis retire to a remote stronghold where every thing is irrational and unthinkable.If you cut off a man's head, he dies. Why? Because it kills him. That is really the whole answer. Learned excursions into anatomy and physiology only beg the question; it does not explain why the heart is necessary to life to say that it is a vital organ. Yet that is exactly what is done, the trick that is played on every inquiring mind. Why cannot I see in the dark? Because light is necessary to sight. No confusion of that issue by talk of rods and cones, and optical centres, and foci, and lenses, and vibrations is very different to Edwin Arthwait's treatment of the long-suffering English language.Knowledge is really confined to experience. The laws of Nature are, as Kant said, the laws of our minds, and, as Huxley said, the generalization of observed facts.It is, therefore, no argument against ceremonial magic to say that it is " absurd" to try to raise a thunderstorm by beating a drum; it is not even fair to say that you have tried the experiment, found it would not work, and so perceived it to be " impossible." You might as well claim that, as you had taken paint and canvas, and not produced a Rembrandt, it was evident that the pictures attributed to his painting were really produced in quite a different way.You do not see why the skull of a parricide should help you to raise a dead man, as you do not see why the mercury in a thermometer should rise and fall, though you elaborately pretend that you do; and you could not raise a dead man by the aid of the skull of a parricide, just as you could not play the violin like Kreisler; though in the latter case you might modestly add that you thought you could learn.This is not the special pleading of a professed magician; it boils down to the advice not to judge subjects of which you are perfectly ignorant, and is to be found, stated in clearer and lovelier language, in the Essays of Thomas Henry Huxley. "

6 " It is precisely because the principle of the transcendence of the object is completely independent of the existential status of the objects themselves and, thus, independent of the question whether they are produced by us or subsist on their own―whether they are fictions or real beings―that the fact of the consciousness of transcendence is not even remotely qualified to solve the problem of reality. This has been misunderstood equally by W. Freytag, Edith Landmann, P. Linke, and even by Husserl himself. Indeed, people have wanted to speak of an intentional realism (E. Landmann) in contrast to Critical Realism and to all other forms of realism. N. Hartmann was quite correct in emphasizing, in opposition to this, that the projection [*Hinausragen*] of the intentional object beyond the content of consciousness and its act cannot make the least contribution to solving the problem of realism. If something is an intentional object, we cannot recognize from this fact alone, whether it is real or not. If the perceived cherry, the conceived triangle, a friend’s visit anticipated in a dream, Little Red Riding Hood, a freely planned project, or a felt value, have entirely different characteristics and predicates than do the mental processes and the actual contents in which these objects appear, then the distinction between intentional and mental holds equally of both the real and the irreal. *Thus, the problem of what is real is not touched by the fact of the transcendence of the object*, and *percipi est esse*, in Berkeley’s psychologistic sense, is laid to rest. This also frustrates attempts, such as Hume’s in his *Treatise*, to derive being-an-object in general―an object as distinguished from an idea―from a psychogenetic process in which the very ideas through which this psychogenetic process is supposed to be accomplished are themselves reified [*verdinglicht*]." ―from_Idealism and Realism_ "

7 " Science and philosophy have for centuries been sustained by unquestioning faith in perception. Perception opens a window on to things. This means that it is directed, quasi-teleologically, towards a *truth in itself* in which the reason underlying all appearances is to be found. The tacit thesis of perception is that at every instant experience can be co-ordinated with that of the previous instant and that of the following, and my perspective with that of other consciousnesses—that all contradictions can be removed, that monadic and intersubjective experience is one unbroken text—that what is now indeterminate for me could become determinate for a more complete knowledge, which is as it were realized in advance in the thing, or rather which is the thing itself. Science has first been merely the sequel or amplification of the process which constitutes perceived things. Just as the thing is the invariant of all sensory fields and of all individual perceptual fields, so the scientific concept is the means of fixing and objectifying phenomena. Science defined a theoretical state of bodies not subject to the action of any force, and *ipso facto* defined force, reconstituting with the aid of these ideal components the processes actually observed. It established statistically the chemical properties of pure bodies, deducing from these those of empirical bodies, and seeming thus to hold the plan of creation or in any case to have found a reason immanent in the world. The notion of geometrical space, indifferent to its contents, that of pure movement which does not by itself affect the properties of the object, provided phenomena with a setting of inert existence in which each event could be related to physical conditions responsible for the changes occurring, and therefore contributed to this freezing of being which appeared to be the task of physics. In thus developing the concept of the thing, scientific knowledge was not aware that it was working on a presupposition. Precisely because perception, in its vital implications and prior to any theoretical thought, is presented as perception of a being, it was not considered necessary for reflection to undertake a genealogy of being, and it was therefore confined to seeking the conditions which make being possible. Even if one took account of the transformations of determinant consciousness, even if it were conceded that the constitution of the object is never completed, there was nothing to add to what science said of it; the natural object remained an ideal unity for us and, in the famous words of Lachelier, a network of general properties. It was no use denying any ontological value to the principles of science and leaving them with only a methodical value, for this reservation made no essential change as far as philosophy was concerned, since the sole conceivable being remained defined by scientific method. The living body, under these circumstances, could not escape the determinations which alone made the object into an object and without which it would have had no place in the system of experience. The value predicates which the reflecting judgment confers upon it had to be sustained, in being, by a foundation of physico-chemical properties. In ordinary experience we find a fittingness and a meaningful relationship between the gesture, the smile and the tone of a speaker. But this reciprocal relationship of expression which presents the human body as the outward manifestation of a certain manner of being-in-the-world, had, for mechanistic physiology, to be resolved into a series of causal relations.”

—from_Phenomenology of Perception_. Translated by Colin Smith, pp. 62-64
—Artwork by Cristian Boian "

Maurice Merleau-Ponty