#Reenchanting the World

[mybeautifulchristianjourney]

by T. M. Suffield | So much of the faith is weirder than we’re used to thinking, not just the sensational stuff like angels and Nephilim, but ‘simple’ concepts like Union with Christ. It’s the heart of the Christian view of salvation, yet I rarely hear it talked about in our churches. It’s weird, it’s enchanted, it makes us much...

[thebirdandhersong]

"the earth trembles at the passing of the humble fruit fly" is objectively one of the funniest lines I've heard in a movie because it's delivered with such solemnity. my brother quotes this at least twice a year and has done so since 2013. yes, this is my pitch for you to watch epic (2013)

[olderandweirder]

The individual is the only reality. The further we move away from the individual toward abstract ideas about Homo Sapiens, the more likely we are to fall into error. In these times of social upheaval and rapid change, it is desirable to know much more than we do about the individual human being, for so much depends upon his mental and moral qualities. But if we are to see things in the right perspective, we need to understand the past of man as well as his present. That is why an understanding of myths and symbols is of essential importance.

~ Carl Jung, Man and his Symbols

[princearthur]

the way horsecrazy fics pulled me out of a 2 year tumblr and merlin fandom hiatus ?? guys I don’t even read fics usually but I am chest deep in book of merthur atm—if you’ve ever wished you could watch merlin from the beginning again I implore you to read it bc this fic is rewriting canon in my heart minus all the mistakes, and separately it is reenchanting the world for my jaded eyes and filling the huge void within me left by an absence of beautiful prose. read it, please, you will not be the same afterwards

[elucubrare]

i think one of the reasons i don't gel with a lot of urban fantasy is that i want something really specific from it, especially if the protagonist didn't know about the magic before:

the reenchantment of the world. (link to the wiki article on disenchantment)

elves (the People) and mermaids and personified forces of nature and magic make a lot of sense when you don't have a scientific answer for why your milk curdles or what that thing swimming along your ship is or why the rain doesn't fall. for the most part, though, modern people live in a much more explained and comprehensible world.

what happens, then, when you suddenly find out that there might be a giant around the corner, or a sea serpent in the sewers? how does this intrusion of the numinous on the mundane affect you? the world is more magical & no longer predictable. what else is different? are you different? what should you do? must you change your life?

[scottishcommune]

To consider starvation as merely an “alternative” to the civil war that wracked Ethiopia and the destruction of so much of the cultural integrity of Latin American villages by (largely American) corporate interests reveals a shocking social amnesia. It is breathtaking to contemplate the extent to which this “ecological” ensemble of ideas deflects public attention from the social origins of ecological problems. That anything besides “nature” is seeking its “balance” in the Third World seems to elude Foreman, whose obfuscation of social problems expresses the logic of a reductionist “ecology.” Such “reverence for the earth” stifles even the modest decencies of middle-class virtues like empathy and concern for the plight of hungry children. “Earth wisdom” of this kind could well leave us with a “love” of the planet but no care for the underprivileged who make up so much of the human species.

Yet Foreman’s remarks are not idiosyncratic. Quite to the contrary: an authoritarian streak is latent in a crude biologism that conceals an ever-diminishing humaneness with “natural law” and papers over the fact that it is capitalism that is at work here, not an abstract “Humanity” and “Society.” This authoritarian mentality sometimes coexists with pious appeals to variants of Eastern spirituality, placing a saintly mask on the ruthless egoism that stems from bourgeois greed. “Ecological thinking” of this kind is all the more sinister because it subverts the organic, indeed dialectical thinking that can rescue us from reductionism. An unbridgeable gulf separates social ecology from the neo-Malthusianism that the ensemble of biocentrism, antihumanism, and “natural law” theory have spawned. We are grimly in need of a “reenchantment” of humanity — to use the quasi-mystical jargon of our day — with a fluid, organismic, and dialectical rationality. For it is in this human rationality that nature ultimately actualises its own evolution of subjectivity over long aeons of neural and sensory development. There is nothing more natural than humanity’s capacity to conceptualise, generalise, relate ideas, engage in symbolic communication, and innovate changes in the world around it, not merely to adapt to the conditions it finds at hand. For biocentric, antihumanist, and “natural law” advocates to set their faces against the self-realisation of nature in an ecologically oriented humanity and dialectical thought is to foster the image of a blighted humanity. No less than Adam and Eve’s acquisition of knowledge, humanity’s power of thought becomes its abiding “original sin.”

- Murray Bookchin, Thinking Ecologically: A Dialectical Approach

(in response to Earth First! founder and "deep ecologist" Dave Foreman's comments saying that Ethiopians should be left to starve for the sake of the planet)

[theblackphoenixwritings]

𝘋𝘢𝘺 14 - 𝘗𝘳𝘰𝘮𝘱𝘵𝘴: 𝘔𝘢𝘺𝘣𝘦

𝘔𝘢𝘳𝘪𝘶𝘴/𝘈𝘮𝘢𝘥𝘦𝘰 & 𝘔𝘢𝘳𝘪𝘶𝘴/𝘋𝘢𝘯𝘪𝘦𝘭 𝘈𝘜/𝘞𝘦𝘴𝘵𝘦𝘳𝘯 - 𝘱𝘢𝘳𝘵 9

They left Teskhamen's tribe the same morning. The small party led by Marius's dog, Daniel, Amadeo and finally Marius set off quickly and orderly on the road to Cripple Creek. Amadeo seemed to have already become familiar, with his horse, which he had named, Famine. Marius and Daniel had squinted at that name, but Amadeo was convinced and proud. Famine, for her part, seemed quite happy to bear that name, rubbing his black muzzle against Amadeo's shoulder. Marius was not surprised at the talents the boy was slowly discovering, in fact, he was somewhat proud of him. That battered and broken boy had not only regained the strength to exist, in a world that had been merciless with him, but seemed intent on standing by Marius' side, despite everything. With his intelligence and good heart even if seasoned with a chili temper. Not too bad. There was much to admire in that auburn-haired figure, who rode erect and silent; there was darkness in him, but who does not have it in them? Marius himself was well aware that even he was not immune to it. They had no time to stop, and so they ate in the saddle, dried meat and bread, and each drank from his own canteen.

As the morning gave way to the afternoon, the group united and rode side by side, galloping across the vast prairie, the freedom Marius felt growing within him as he galloped fast, man and horse one, was something indescribable to him. The horses proceeded swiftly and swiftly over the level ground, the riders attentive to their surroundings, behind them only the trail of dust raised by the powerful hooves of their steeds. That ride found an end when they were close to the canyon again. They had to cross it again, but to be on the safe side, they passed on the opposite side from where Marius and Amadeo had come. The horses returned to the pass, and quietly they continued on the cobblestone road. Marius could not shake the strange feeling of being watched. He wanted with all his might that that instinct of his was related to the bad experience there, but he knew that his will represented nothing in the eyes of fate. Marius caressed Wise, who went on quietly, Marius was reenchanted; if Wise was quiet, perhaps it was he who was too agitated.

"Do you think Thorne is doing well in that nut hole of town?" Marius shifted his gaze to his left; Daniel was staring at him with his violet eyes. Marius smiled.

" If Thorne can't do it, who could?" tried to joke Marius.

" Well you for one. Thorne is the coolest, super badass man alive, but after you, my love. And that city is you who can hold it down properly."

"What I can't do with you, you would say." Marius retorted almost with stinginess, but there was a veiled smile that did not escape Daniel's notice. He had known him too much and for so long, there was no way Daniel could misjudge his man's emotional motions.

"Look the same goes for him," and Daniel pointed with a graceful gesture of his chin at Amadeo, who to Marius's left was watching the top of the canyon.

" He doesn't need to keep me at bay, because he likes it when I challenge him." announced Amadeo confidently as he continued to stare at the canyon top, "Someone is watching us." he then sentenced.

Marius had been puzzled and incredulous at those words, while Daniel had burst out laughing.

" Well yes, we know too little genius, that they are following us, and it's certainly not good for them to realize that we know, so get your little nose away from the top of the canyon." said Daniel.

Armand slowly shifted his attention to Marius, who was staring at an undefined point ahead, his blue eyes seemingly carved out of ice.

"We're in an extremely disadvantaged position, pretty much doomed if they have a carcano" Marius sentenced.

"It would be very easy, for them to end it here, if they kill us, they can handle the story of those creatures and the exsanguinations as they want, the truth will be buried with us." continued Daniel.

Amadeo seemed about to say something but a raised finger of Marius' gloved hand made him stop.

" If Mr. Carson and Santo are involved with the creatures, they sent these men, to finish the work the creatures started the other night, they want us out of the way. But why? And what's in it for them?"

"Why are you convinced this is Mr. Carson?" asked Amadeo, who seemed, now, intent on mulling over the situation. But Amadeo was right-they did not know who these men were, and they could not connect them to Mr. Carson in any way.

"That man lives to do evil, and to accumulate wealth, he is a greedy bastard without a shred of humanity," blurted Daniel.

"Amadeo is right Daniel, we don't know if those men are related to Mr Carson, and we're not even sure if he really is in cahoots with the creatures, whatever the reason might be. We have nothing solid, only supposition." said Marius calmly, who seemed intent in his thoughts.

" Damn it!" blurted Daniel " I followed them, saw the vampires going deeper into Carson's lands. They could have gone any other direction, heck, instead they moved toward the old well. It's less than half an hour from Carson's house. Either they're all already dead, or those creatures don't want to kill them because they have some kind of deal," Daniel said.

"That's right. But we don't know at the moment. We don't know what happened in Mr. Carson's prorpy, and if we get out of here alive, that's the first place I'll go to investigate." said Marius, as he unfastened the latch of the bolt-action bag attached to his saddle. Daniel stared at him; he had never doubted Marius, and even now he was more than sure that Marius would protect them.

"What goes around in that head of yours?" asked Daniel.

"With the scope, I can shoot all the way up there with the bolt, but it would only serve as a diversion, and they have the advantage of height. I'm pretty sure at the canyon exit we'll find more of them, and at that point we'll have no escape." admitted Marius, who was whirling around for a way out of that situation.

"If we stop they will know we have seen them, if we turn back they will attack us anyway, and we are now too far away to call for help," Marius continued. Amadeo and Daniel stared at each other dejectedly. Then suddenly a rifle shot resounded in the canyon and then another and another. Excited voices were heard from the top of the canyon, some stones fell down, pushed by the eagerness of galloping horses. So Marius was right, and at the entrance to the canyon other men were waiting for them, their companions above, had realized that their own were in danger and were rushing to help them. Marius galloped off, unsheathing his bolt from his holster, whoever he had shot had saved them, and was now in danger, even if it had all happened by accident, Marius could not let those half-bandits of Mr. Carson's men kill those who had given them a hand.

"Stay here," he shouted to Daniel and Amadeo, who had already moved to follow him "You are unarmed, and I don't want anything to happen to you." Marius shout, Wise galloped swiftly and inplacably toward the entrance to the Canyon.

Amadeo stared at Daniel, and drew a bow from the bag hanging from his horse, and slung a quiver full of arrows over his shoulders, Daniel nodded, and likewise drew a colt from the leather bag hanging from the side of his horse.

" Let's go." said Daniel, but Amadeo did not answer; he had already thrown his horse into a gallop.

"I'll be damned, but where did he find him?" Daniel straightened up in the saddle and spurred his horse, which followed fiercely in the wake of Amadeo's.

Meanwhile, at the beginning of the canyon a real gunfight resounded. Marius dismounted from his horse and sought shelter among the boulders. In a moment he spotted from where he was shooting, who had rescued them, and the position of the attackers. They had gathered and formed a group to the right of the canyon. They were shooting like mad, bullets were flying everywhere, there were at least seven of them Marius considered. On the other side of the canyon, on the other hand, at precise and calculated moments, ammunition was being fired that had already gone off, there were three corpses disinterred among the rocks. Marius considered that the gunman who had rescued them had damn good aim, but this had alerted the other members of the group, who were now no longer exposing themselves from behind their shelters. Marius slinged his bolt and sought a position favorable to him.

The gang that wanted to kill him, Daniel, and Amadeo had not noticed him. The bolt had only five shots, and from that position Marius could take out at least two of them safely, but then he would give away his position. There was not much else he could do; trying to reach the gunman was out of the question, and changing position was also out of the question. So two powerful bolt shots rang out, and two bodies fell into the sand. One dead, the other wounded, unable to continue firing. There was an excited hubbub from the band; there were five of them left. In an instant Marius' shelter was hit by a barrage of bullets that seemed endless. There followed a scream and a gunshot, then another, and only the sound of a body falling heavily to the ground was heard. For crying out loud that gunman was formidable thought Marius.

"All right, all right, you killed all our comrades, why don't we try to reason now?" shouted one of the survivors. Marius leaning with his back against the boulder, sneered, maybe we could talk, maybe as soon as we put our heads out you will put a bullet in us, maybe as soon as you come out to talk the gunman will put a bullet in your heads, or maybe we will just all kill each other, thought Marius, curious to know what the gunman thought.

But neither could ever know those maybes where they would lead them, the moment the two men came out of their hiding places with guns drawn, hoping that their lie of peace had been believed, one of them fell shot in the neck with an arrow, and the other found death with a colt shot fired by the mysterious gunman.

Amadeo stopped, desperately searching with his eyes for Marius, completely ignoring the red-haired giant with implacable green eyes who was staring at him.

"Thorne!" shrieked Daniel, dismounting from his horse with a smile, but instead of running toward Thorne, who was staring at him in amazement, he rushed to Marius. Daniel threw his arms around his neck, and Marius pulled him close, at that moment, Amadeo also threw himself into the embrace. Marius squeezed them happily; he should have scolded them, but there would be time for that.

Thorne approached with a curious look, Marius placed a hand on his shoulder affectionately.

" Deputy sheriff, I am glad to see you, I have missed you, my friend."

"Sheriff, if you leave again for all this time...You'll have my resignation on the table when you come back," Thorne threatened, but his smile said, more than that.

[kontextmaschine]

So I'm only recently appreciating how much of the '80s concept of "the suburbs" was specifically Long Island/the San Fernando Valley/Chicagoland.

The notion was everywhere as the new default location, but the '80s Reagan reenchantment (and then-dawning Boomer nostalgia) also went big on small towns, it was hard for me to say which one my hometown was – it dated to the Colonial era, but people went in every day to Philly jobs (we'd had commuter rail since the early 20th century)

Really we were an exurb, but that term didn't really break through until the late '90s (and more specifically "favored quarter" only later)

In the '90s "raves" could be a thing, even suburban kids went to them! Like, maybe inner "suburban", for a lot of us who were otherwise culturally centered "the warehouse district" did not exist as a part of our world at all

[mobs-masses-crowds-collectives]

Bibliography

Anthony Avery, "Folklore and Alternative Masculinities in a Rave Scene" (2005)

Andrew Apter, "Herskovits's Heritage: Rethinking Syncretism in the African Diaspora," in Diaspora (1991)

Bill Buford, Among the Thugs (1980)

Barbara Ehrenreich, Dancing in the Streets: A History of Collective Joy (2006)

Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (1993)

Ivelaw Griffith, The Political Economy of Drugs in the Caribbean (2003)

Dick Hebdige, Subculture: The Meaning of Style (1979)

---. Cut ‘n Mix: Culture, Identity, and Caribbean Music (1987)

Ben Jones, The Working Class in Mid-Twentieth-Century England: Community, Identity, and Social Memory (2012)

---. "Casual Culture and Football Hooligan Autobiographies: Popular Memory, Working-Class Men and Racialised Masculinities in Deindustrializing Britain, 1970s-1990s" (2024)

---. "Football Casuals, Fanzines, and Acid House: Working Class Subcultures, Emotional Communities, and Popular Individualism in 1980s and 1990s England" (2023)

Joel T. Jordan, Searching for the Perfect Beat: Flyer Designs of the American Rave Scene (2003)

Alesso Kolioulis, "Borderlands: Dub Techno's Hauntological Politics of Acoustic Ecology" (2015)

Joshua Landy and Michael Saler, The Reenchantment of the World: Secular Magic in a Rational Age (2009)

Louis Meintjes, Sound of Africa (2003)

Simon Reynolds, Energy Flash: A Journey Through Rave Music and Dance Culture (1998)

R. Murry Schaefer, The Soundscape: Our Changing Environment and the Tuning of the World (1994)

Elliott Schwartz, Electronic Music: A Listener's Guide (1973)

Harry Shapiro, Waiting for the Man: The Story of Drugs and Popular Music (2003)

Michael Veal, Dub: Soundscapes & Shattered Songs in Jamaican Reggae (2007)

Paul Willis, Learning to Labour: How Working-Class Kids Get Working-Class Jobs (1977)

[jrmilazzo]

The “magic thing” is to “make boredom and weariness blossom into immeasurable contentment”; the second kind of attention “brought a quality of delight completely unknown to the first kind”. Wide attention reenchants the world, narrow attention can diminish it. Narrow attention creates a certain kind of person – is a way of overdefining oneself; wide attention provides alternatives, alternative ways of seeing ourselves and others. Clearly what Milner is describing here as wide attention is a form of attention purged of aims and wants and conventional satisfactions (it is a version of forgetting oneself); and she describes in vivid detail her struggles to attain this wide attention, freed as it seemed to be of Darwinian and Freudian and indeed acquisitive purposes. It is a version, as she acknowledges, of what Blake called “vision”. It acknowledges that any ideology of virtue can only ever be a provocation.

[analogueartmap]

DIVINATION GAMES

- draft page and text only -

Today, methods of ludic divination occur largely in the digital domain. Entertainment videogames and virtual simulations conjure metaverse and multiverse dynamics through which time and space can be traversed. Such games and simulations are deployed to predict stock-market trends, military tactics, weather patterns, and climate changes informing real-world scenarios, decisions, and conflict outcomes.

These divinatory games don’t just calculate futures, they become them. For example, IBM’s DeepBlue defeat of Garry Kasparov and Google’s AlphaGo victory over Lee Sedol each appear as proof of an inevitable future in which computer games surpass human cognitive ability. Even the prophecy by game scholars of the forthcoming ‘game century’ hints at a ludomantic thinking.

The divinatory capacity of games is both celebrated and contested. While games hold the potential to cultivate new imaginaries, evoke deep histories, and inspire likely futures, they also distract from impending environmental cataclysms that require our collective efforts to avert. Moreover, as revealed by scholars including Sun-Ha Hong and Wendy Chun, the apparent objective logic of computational games – of algorithms and AI – are not only riddled with human bias and failing, but they amplify unannounced mythologies surrounding contemporary technologies. The alternate realities conjured by computers and games can be obstacles to clear vision.  

Digital forsight models

Current divination games reveal a spectrum of cataclysms that point toward human obsolescence. We find ourselves caught in a timeline defined by defeat. By rethinking electronic predictive practices in a material and historical perspective, we might demystify computers and games while simultaneously reenchanting them toward collective action to generate yet-unimagined futures that are hopeful, rich, and strange.

[a-god-in-ruins-rises]

How mythopoetic would you say your cult is

very. that's a large part of it.

the goal is the reenchant the world. mythologize it. sanctify it.

[rejectedreligion1]

RR Pod E24 Part 1 Dr. Aaron French- Us From The Future? In Part 1, Aaron and I explore many different rabbit holes regarding esotericism and high strangeness. Aaron begins by expanding on his earlier presentations that he gave this year on this topic; he's looking at the relationship between technology and magic, and is asking, 'how does technology reenchant the world?' One area that we can find a lot of interesting material is the UFO-field. Aaron talks about his research findings regarding the links between Rudolf Steiner and J. Allen Hynek (a scientist who was working with the U.S. government in its project to study the UFO phenomena). From there, we look at the esoteric ideas linked with this topic, how they developed and have become assimilated into New Age thought surrounding the narratives and ideas found in the UFO field.

[karanseraph]

I went though a phase of being into these story structures. I went as far as to make myself a spreadsheet trying to line up the various versions to compare and contrast. I looked at:

Joseph Campbell Hero's Jouney

Chistopher Vogler Hero's OUTER Journey

Christopher Vogler (?) Hero's INNER Journey

Maureen Murdock Heroine's Journey

Craig Chalquist, Ph.D. The Journey of Reenchantment

Hollywood structure

Snyder's Save The Cat

Kishotenketsu

Freytag's Pyramid

Mostly what I learned is that there's not any one 'right' system for every story/every audience/every writer but that any structure that helps a writer to feel confident or be organized or to keep on writing can be helpful. We probably should keep in mind that these are loose guidelines to be adapted or to inspire us and not rulesets to force our stories into.

Some of these structures are more linear or cyclical. The "Journey" ones tend to be cyclical in that the protagonist starts in their ordinary world/circumstance, actually or metaphorically departs and goes into another realm, often faces a darkest moment/conflict/realization/change, and then works their way back to their own world, again, though often changed.

Campell's journey had more detailed steps than most at 13 by my count, whereas some like kishotenketsu (intro, development, complication, conclusion) or Freitag's (exposition, rising action, climax, falling action, denouement) are more broadly defined with fewer steps.

Soundwave in The Echo Garden, probably underwent the hero's two journeys, in which the outer one was the physical journey on the Lost Light and their away missions to bring back actual needed data and resources, and the inner journey:

Limited Awareness of Problem

Increased Need for Change

Resistance to Change

Overcoming Fear

Committing to Change

Experimenting

Preparing for Big Change

Big Change

Accepting Consequences

New Challenge/Rededication

Final Attempts

Mastery

I think authors can end up writing stories that at least partially match these types of systems, even if they never studied the systems, but because writers aren't learning to write in a vacuum. We're all exposed to stories (fictional or non-fictional narratives) in our lives and within our culture. We pick-up on patterns, structures, and tropes on a subconscious as well as conscious level and then draw on what we know when we write.

ramblies about TEG & literary construction

I'm reading a book ("The Writer's Journey" by Christopher Vogler) which describes classic story arcs, character archetypes, The Hero's Journey, etc and mentally comparing it all to TEG. This is to try to apply/remember what I'm reading, but also to see "how I've done" compared to what is being presented as the boiled down expression of all of human storytelling.

TEG doesn't closely follow published conventions because of what it is, but I am able to match certain aspects to archetypes and stages of The Hero's Journey. I'm not totally ignorant of these things - I've read about them before - but I didn't write TEG itself with much of the Literary Construction firmly in mind. The redemption arc and the final climax (wherein Soundwave is offered what he wanted most at the beginning of the fic, but rejects it due to his character growth) were definitely, consciously utilized using the language of literary construction. But beyond that, I mostly worked by feel, logic, and what the story needed.

All that to say: if any Literary majors ever feel like evaluating TEG at this level, I'd be so interested to see that done from their knowledgeable viewpoints. Did Soundwave have a mentor figure?? I'm not entirely sure. Megatron, maybe? Brainstorm, in the "gift-giving" capacity? Which archetype does Rodimus fall under? Ally? I'm not sure the story falls under the 3 Act structure (or any conventional Act structure) because the points of tension, rising and falling, and growth, meander a bit to the point of (purposeful, on my part) regression, then move forward. The fact that "Return with the Elixir" is the last stage, and manifests pretty literally in the fic, amuses me, though xD

It might seem strange that I wrote a story and I don't know what its Act structure is or who the Shapeshifter figure might be, but I think I can explain it: I don't need to know the exact way bread was made in order to follow a recipe for French Toast. I know I have bread. I might not know anything about bread. But I can do something to it to make it into what I want. Weird analogy? Probably. French Toast is so good. I'm not even hungry. Okay, focusing now: I do read books about writing somewhat regularly. My problem is retaining the information. I think too many of my brain cells are permanently stuck holding memes and robot facts and I just can't get anything else to stick.

anyway, idk, I just felt like telling this to the void :)

As for the book itself: it's definitely written by an older person who is male. Young people today might be thrown out of a smooth reading experience by some of the language (nothing horribly offensive, but we have conventions now that feel more modern) and the references (old, old movies and TV shows) but I think there is still important info you can get from it.

[scottishcommune]

Dualism and reductionism, in fact, are usually deeply entangled with each other. A crude dualism tends to foster its counterpart in an equally crude monism that simplifies all of reality into a single, often homogeneous agency, force, substance, or energy source. Hegel caustically called this “a night in which all cows are black.” The mystical sparks of light that appear in this “night” should not deceive us. That reductionist notions glimmer with words like Spirit, cosmic energy, vital forces, and energy centers barely conceals the fact that reductionism emerges from ways of thinking that are no less mechanistic, instrumental, and analytical than the hypothetico-deductive mentality that has assumed such supremacy over the past two centuries of Western thought. Seemingly mystical, spiritual, and even organismic conclusions are often deduced by means of hypothetico-deductive approaches, which in turn infect the entire project of “reenchanting” the world with dismally “disenchanting” instrumental underpinnings. Indeed, as we shall see, “method” can never be blandly detached from the content it yields, just as the means one uses in politics and life generally significantly determines the ends one pursues.

- Murray Bookchin, Thinking Ecologically: A Dialectical Approach