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Clean up signatory order

it seems to be Jordan that your position is is fundamentally a positive one it's an affirmation of human dignity the freedom that dignity demands and an affirmation of the infinite particularity of human life you would if one were to contrast the collectivist thinking on the one hand if one might call it a kind of abstract rationality as if there's one solution to fit them one size fits all kind of top-down logic what's on the other side what's the what's the antidote to that in the individual yes particularly I mean one of the things I talk about in twelve rules for life and this is in my lectures this has become a meme strangely enough something that's widely distributed on the web partly because there's a comical element to it it's to clean up your room and everyone laughs about that because I'm taking that seriously it's like Paul cleaned up your room everyone's mother has told them that a thousand times right but I tried to explain why it's like well you have a bit of chaotic potential right in front of you it's in some sense infinite in its potential and the the domain in which you can manipulate that might be rather restricted because of the restrictions that that are part and parcel of your existence but maybe you have your room and you might think you might have contempt for that and so it's a complete bloody catastrophe but you don't have to you could think well I've got a little it isn't a room it's a place of potential and as soon as you know that then it's it's not your room anymore it isn't a room the room that you see is your preconception of the space that you inhabit what's there is is a fragment of infinity that's what's there and what you see is the is the is the low-resolution consequence of your assumption and lazy habit and blindness that's your initial room and you think well no that's not the room see part of what artists do for example when Van Gogh paints a room and you look at it glowing he's trying to show you what's beyond your perception of the room and I mean this technically like the way that your visual system is set up is that whenever memmer and presumption can can can replace direct perception it will because it's simpler so you literally see what you expect to see and if what you see is dull and drab and boring and pointless and and and uninspiring then that's you it's not what's there and what the artist does when he or she represents that mundane reality is to remind you of what's behind it the potential that's there and so what I'm suggesting to people is that they take the potential that's right in front of them it's like okay and here's the rule you're aiming up there's something that you could change that you would change that might be a very small thing could well that's within the grasp of your power would is within the grasp of your will to combine those two things might be very small shift you might only be willing to make a very tiny step forward it's like fine good enough make a tiny step forward and that makes you a slight bit stronger than you were before and then the next step can be slightly larger and it's it's the path of humility it's what people it's what people act out when so there's this Cathedral it's actually it's not a Cathedral it's an oratorio in Montreal I think it's the second largest one in the world it's set on a hill at the top of a hill and there's a huge staircase leading up to it from the bottom of the hill and people often who are crippled and who are on crutches and so forth or in wheelchairs go there and make their way painfully up the hill or maybe they do that on their knees and the idea is that they're struggling incrementally uphill step by step despite their burdens to reach the City of God on the hill and they're acting out that's life it's like the the proper aim is the City of God on the hill and what is that well that's that place that we talked about already where these levels of responsibility are stacked together harmoniously so that you're acting in your best interest and in your family's best interest and in and in the world's best interest and I would say in the best interest of reality itself right assuming that we have some integral role to play in reality which is certainly at least true at the human level that's the City of God on the hill that beckons to everyone and you you move up that you move towards that humbly so that's one step at a time and you do it despite your burden and your suffering all of that now it's all dramatized in that and it's it's a perfect drama of that and would you even say it's not to be despite your suffering it's in and through your particular suffering one thing that strikes me about you clean up your room clean up your room yes the affirmation of the particularity of your life I mean one thing that strikes people deepest in our human experience is that it is infinitely particular I mean that you mentioned your granddaughter I mean that the the the loves the people the experiences the places that were shaped by they're not places in the abstract to this this top-down sense as if there could be the you know the same kinds of clothes and the same kinds of experience for all human beings it that that that's the enemy of the very deepest truth of our human experience which it seems to me is infinitely particular but not infinitely particular in the sense in which those particular needs to squall off into nothingness those particulars are precisely our points of access to the transcendent to the infinite to the to the to to to to that that's where the reality is yes yeah well that's why young said that modern man can't see God because they don't look low enough yes they're not they're not paying attention to the importance of the particularity because the particularity is where the pen meets the paper right yes and it's just a tiny dot every every like when you're when you're writing it's it's a dot and then it extends into a line and those transform into words and sentences and paragraphs but the particular act is where the pen means yes yes yes that focal point right that's the center of the cross by the way yes same yes yes we mentioned the cross I mean certainly in the in in in in in the in the history of of the West one of the ways this comes through is and in the East too is in Christian theology is the very notion of the Incarnation you know what is that to say but that the the infinite is in the particular and they that that they are that they are Co inherent that the infinite in fact has no life except in the particular and the particular itself has a relation to or is comprehended by that very infinite and so it seems to me that that what is going on there is an affirmation that every particularity no matter how tiny itself is revelatory of a transcendent and yes I think it was from the Gospel of Thomas but I might have this wrong the kingdom of God is spread upon the earth but men do not see it and that's that that's that infinite that's that infinite possibility in each moment of particularity and that is what artists that is what great artists are reminding yourself they'll take a slice of space and time it was it money who painted the haystacks he went out into the fields in France and he painted the same haystack like many many times under different conditions of lighting just to show how different it yes if it's if it's a haystack it's the same thing but it wasn't he paid attention to the particularity 's and so what great artists are trying to do is well first of all so imagine a painting so it's a painting of a landscape and so the first thing is that it's it's layers of time because the painter has gone out there and seeing the landscape and then seeing it again and then seeing it again and then seen it again and then seen it again and it has to pay attention to the particularity 's of the light and the color and all of that to represent it properly so it's and and and the mere fact that he's done that is it's it's the acting out of the idea that in this tiny slice of time and space there's something worth attending to for an infinite amount of time but you can't because you just can't do it but you need to know that you could do it and then it would be worthwhile and so the painter encapsulate the landscape and then frames it and says like look look through this window at the transcendent that's behind the low-resolution representation of your assumption the blindness that you the expedient blindness that you by necessity to bear to every situation remember what's behind this always remember what's behind this and that's what art calls us to do that's what Beauty calls us to do is to make contact with that then you say well the problem with the particularly the problem with it particularly is that it brings suffering and the bringing of suffering with particularly can also allow evil to enter the world because that particular suffering can engender bitterness and resentment and hatred and all of those things and the desire to destroy so that particularly carries with it a tremendous risk and a tremendous burden and so the answer the question is well how do you tolerate the particularity and take advantage of the potential and the answer is to make a relationship with the infinite that's behind the particularly and that's the fundamental religious idea is to if you can maintain that particularly but also stay in contact with what's transcendent and infinite beyond that then you can then you have the potential strength to tolerate the catastrophe of yes what's limited yes and then you get to have your cake and eat it too in principle yes