Existential questions raised in 'Rick and Morty'

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NonZeroSum
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Re: Existential questions raised in 'Rick and Morty'

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Well, that idea was expressed by Sartre himself in his review of The Stranger, where he talks about how we perceive experiences as already half-digested and so on. As for his philosophy, both Camus and Sartre can be considered as 'detached', but Sartre was genuinely interested in providing a sort of moral foundation. Something he never achieved.
I agree they both have their limitations, one attached to an aesthetic of the material foundations of society, the other to the 'games we play'. I just find Camus a lot more inspirational because courting the truth that is our equal but opposite nonbeing, what we are afraid of, will lead to more clarity and acceptance of more complex forms of life.

Its not a rejection of the value production system that lead you to want to become a doctor, its just a clearer perspective on why we need people to push themselves, how we can create more roles and better mechanisms of value enticement. Its that Wittgensteinian 'about what one can not speak, one must remain silent.' It's not an abandonment of all that came before, just what more can be achieved.
A philosophical denail is just a view, a theory… It does not get one actually to examine all the things that one really does identify with… as ‘self’ or ‘I’.
This examination, in a calm meditative context, is what the not-self teaching aims at. It is not so much a thing to be thought about as to be done.
- The Selfless Mind: Personality, Consciousness and Nirvana in Early Buddhism by Peter Harvey
“My propositions are elucidatory in this way: he who understands me finally recognizes them as nonsensical, when he has climbed out through them, on them, over them. (He must so to speak throw away the ladder, after he has climbed up on it.) He must overcome these propositions…” {Wittgenstein, Tractatus 6.54}

“The most important point is to establish yourself in a true sense, without establishing yourself on delusion. And yet we cannot live or practice without delusion. Delusion is necessary, but delusion is not something on which you can establish yourself. It is like a stepladder. Without it you can’t climb up, but you don’t stay on the stepladder.” {Shunryu Suzuki, Not always so, p.41}
- Wittgenstein and Zen Buddhism; one practice, no dogma
- https://archive.uea.ac.uk/~j339/wzennewest.doc
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Re: Existential questions raised in 'Rick and Morty'

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Its just a clearer perspective on why we need people to push themselves, how we can create more roles and better mechanisms of value enticement.
I'm not sure if I understand what you mean here. What is this clearer perspective? How are we supposed to create 'more roles and better mechanisms of value enticement' by adopting Camus's absurdist point of view?

Its that Wittgensteinian 'about what one can not speak, one must remain silent.' It's not an abandonment of all that came before, just what more can be achieved.
I am not sure about what you mean by that either. That sentence is in the Tractatus, a work in which Wittgenstein, among other things, wanted to show that moral truths could not, materially, be expressed. I think he would hate to be here discussing morality with us. Or, at least, he would not consider it tenable. Words are useless when it comes to ethics and there's a lot of philosophy that revolves around their misuse. Ethics, for him, could only be shown sub specie aeternitatis, by adopting a universal perspective. Which kind of defeat the whole purpose of this forum.
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Re: Existential questions raised in 'Rick and Morty'

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DarlBundren wrote: Sun Mar 19, 2017 7:20 pm
Its not a rejection of the value production system that lead you to want to become a doctor, its just a clearer perspective on why we need people to push themselves, how we can create more roles and better mechanisms of value enticement. . .
. . .What is this clearer perspective?. . .
Critical thinking and mindfulness, by playing the ‘stating the facts game’ instead of comforting philosophical denial, I think Camus envisioned a world where giving people work by building infrastructure wasn’t a partisan issue as one example.
. . .How are we supposed to create 'more roles and better mechanisms of value enticement' by adopting Camus's absurdist point of view?. . .
Yes by subscribing to Camus' philosophy which marries humanist and nihilist points of view; we should desire work that fulfills us emotionally, which means elevating past the spectacle of commodity culture that we currently inhabit and towards a system of decentralised governance where it’s easy to comprehend how effort directly contributes to the upkeep of your community and culture.[1][2][3][4][5]
It is a matter, then, of expanding the realm of these alternative practices, relationships and ‘value struggles’ – of expanding the dimension of what de Angelis calls the commons, in opposition to the colonising tendencies of capitalism. We should also recognise, with Foucault, the reversibility of power relationships, even those that seem so overwhelming; that while power might be ubiquitous, it is also characterised by instabilities and moments of resistance.
—  The Politics of Post Anarchism by Saul Newman
We live in a spectacular society, that is, our whole life is surrounded by an immense accumulation of spectacles. Things that were once directly lived are now lived by proxy. Once an experience is taken out of the real world it becomes a commodity. As a commodity the spectacular is developed to the detriment of the real. It becomes a substitute for experience.
—  Spectacular Times: Images and Everyday Life by Larry Law [6]
The question I want to pose is this: Are the authoritarian and hierarchical characteristics of most contemporary life-world institutions- the family, the school, the factory, the office, the worksite--such that they produce a mild form of instituional neurosis? At one end of an institutional continuum one can place the total institutions that routinely destroy the autonomy and initiative of their subjects. At the other end of this continuum lies, perhaps, some ideal version of Jeffersonian democracy composed of independant, self-reliant, self-respecting, landowning farmers, managers of their own small enterprises, answerable to themselves, free of debt, and more generally with no institutional reason for servility or deference. Such free standing farmers, Jefferson thought, were the bases of a vigorous and independent public sphere where citizens could speak their mind without fear or favor. Somewhere in between these two poles lies the contemporary situation of most citizens of Western democracies: a relatively open public sphere but a quotidian institutional experience that is largely at cross purposes with the implicit assumptions behind this public sphere and encouraging and often rewarding caution, deference, servility, and conformity. Does this engender a form of institutional neurosis that saps the vitality of civic dialogue? And, more broadly, do the the cumulative effects of life within the patriarchal family, the state and other hierarchical institutions produce a more passive subject who lacks the spontaneous capacity for mutuality so praised by both anarchist and liberal democratic theorists?

If it does, then an urgent task of public policy is to foster institutions that expand the independence, autonomy, and capacities of the citizenry. How is it possible to adjust the institutional lifeworld of citizens so that it is more in keeping with the capacity for democratic citizenship?
—  Two Cheers for Anarchism: Six Easy Pieces on Autonomy, Dignity, and Meaningful Work by James Scott [page 79-80][7]
Its that Wittgensteinian 'about what one can not speak, one must remain silent.' It's not an abandonment of all that came before, just what more can be achieved.
. . .That sentence [popular quote {8}] is in the [last line of the] Tractatus, a work in which Wittgenstein, among other things, wanted to show that moral truths could not, materially, be expressed. I think he would hate to be here discussing morality with us. . .
He also thought (at the time he wrote it) his book was the equivalent to the golden age of philosophy and nothing more needed to be written. It speaks to their short-sighted universalist teleology, but it doesn’t mean I need to be a universalist to call upon it. It’s a valuable meta-ethical concept that also speaks to a desirable ethical nihilist ontology.[9][10]

_____________________
References:

1. Involving others: from toolkit to ethos for a different kind of democracy
—  http://bit.ly/2mjCsub/
2. Page 34-35 of 'Therapy and Desire; Theory and Practice in Hellenistic Ethics'
—  http://philosophicalvegan.com/viewtopic.php?f=17&t=2965&p=29394#p29394
3. Community Forestry in Nepal: Decentralized Forest Governance
—  http://bit.ly/2mGHwEc
4. Anxiety, affective struggle, and precarity consciousness-raising
—  http://bit.ly/2ncEj37
5. Emotions and Emotional Labor at Worker-Owned Businesses: Deep Acting, Surface Acting, and Genuine Emotions
—  http://bit.ly/2nqjSAk
6. Spectacular Times: Images and Everyday Life by Larry Law
—  http://bit.ly/2n5niaH
7. Two Cheers for Anarchism: Six Easy Pieces on Autonomy, Dignity, and Meaningful Work by James Scott
—  http://bit.ly/2mjrIvu
8. Hell is Quoting Other People [Wrongly] | Idea Channel
—  https://www.youtube.com/watch?v=JzYPUP6LR5Y&feature=youtu.be&t=4m44s
9. Ethical Nihilism
—  http://philosophicalvegan.com/viewtopic.php?f=7&t=2998
10. Evolutionairy meta-ethics
—  http://philosophicalvegan.com/viewtopic.php?f=7&t=2896&start=10
—  http://philosophicalvegan.com/viewtopic.php?f=7&t=2944&start=20
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Re: Existential questions raised in 'Rick and Morty'

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NSZ: Critical thinking and mindfulness, by playing the ‘stating the facts game’ instead of comforting philosophical denial, I think Camus envisioned a world where giving people work by building infrastructure wasn’t a partisan issue as one example.
But he doesn't state any fact. He spoke against irrationalism, but he deemed the world irrational. His way of opposing what you call 'comforting philosophical denial' is simply arguing for a form of non-cognitivism. There is nothing to be known, no rule to follow. The only thing that's left is his personal blend of ethical subjectivism. 'Nothing matters, stay strong and live without consolation.' Within that framework, not only he's not able to state, say, that emissions of carbon dioxide effects the climate of the planet (that would mean accepting 'scientific determinism', and he doesn't), he cannot even say that a rapist is worse than someone who decides not to rape. He could try to point out why that rapist should behave differently, maybe, but his words would not matter more than the ones of the rapist's himself. 'There is no truth, only truths', he said in The Myth of Sisyphus.

At least Sartre tried to create a moral system of sort. Camus rebelled against every possible system of knowledge (but, of course, then he went on to explain how things truly are and why we must rebel against them). I don't find that appealing. It's philosophically useless and, empirically, does a bad job at explaining why we don't treat moral decisions as matters of taste. If we act the way we act only because we are blinded by rules and power structures, how come we cannot stop arguing about what it means to live an ethical life? How come we don't regard it as debating over which kind of ice-cream flavor is the best? And, again, if there's no way of understanding anything, why should I care about what Camus thinks in the first place?
NZS: Yes by subscribing to Camus' philosophy which marries humanist and nihilist points of view; we should desire work that fulfills us emotionally, which means elevating past the spectacle of commodity culture that we currently inhabit and towards a system of decentralised governance where it’s easy to comprehend how effort directly contributes to the upkeep of your community and culture
.

But 'the spectacle of commodity culture' appeals to many people. They are following their emotion when they decide to spend their whole afternoon watching sitcoms. And, arguably, a rapist is following his emotions too when he decides to rape someone. I don't need a system of decentralized governance to understand how badly I would like him to stop.
We live in a spectacular society, that is, our whole life is surrounded by an immense accumulation of spectacles. Things that were once directly lived are now lived by proxy. Once an experience is taken out of the real world it becomes a commodity. As a commodity the spectacular is developed to the detriment of the real. It becomes a substitute for experience.
This debate has been going on since writing was invented. We have been telling stories and painting caves since the dawn of time and there has always been someone around who tried to argue how all those forms of representation corrupted our experience of the real world. Is writing bad? Take a look at what Socrates had to say on the matter:
Socrates: [Writing] will create forgetfulness in the learners’ souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves. The specific which you have discovered is an aid not to memory, but to reminiscence, and you give your disciples not truth, but only the semblance of truth; they will be hearers of many things and will have learned nothing; they will appear to be omniscient and will generally know nothing; they will be tiresome company, having the show of wisdom without the reality.
NZS: At one end of an institutional continuum one can place the total institutions that routinely destroy the autonomy and initiative of their subjects. At the other end of this continuum lies, perhaps, some ideal version of Jeffersonian democracy 
At the other end of the continuum there's probably this: https://www.theguardian.com/science/2016/jan/20/stone-age-massacre-offers-earliest-evidence-human-warfare-kenya
NZS: And, more broadly, do the the cumulative effects of life within the patriarchal family, the state and other hierarchical institutions produce a more passive subject who lacks the spontaneous capacity for mutuality so praised by both anarchist and liberal democratic theorists?
Not necessarily. Those forms of libertarianism and anarchism are equally dogmatic. The writer is just appealing to extremes, which is a logical fallacy. If X is true (where x stands for how bad oppression, allegedly, is), then Y (not being 'oppressed' at all) must be great...well, no. I am more concerned about consequences, and I don't have enough evidence to support that position.
But I don't think this is the right thread to discuss that.
NZS: He also thought (at the time he wrote it) his book was the equivalent to the golden age of philosophy and nothing more needed to be written.
Yes, and then he changed his mind and wrote another one.

NZS: It speaks to their short-sighted universalist teleology, but it doesn’t mean I need to be a universalist to call upon it. It’s a valuable meta-ethical concept that also speaks to a desirable ethical nihilist ontology.
Whose short-sighted universalist teleology? Wittgenstein was a christian. He read Dostoyevsky, he read William James. He fought wars because he believed that those experiences could give him true insight into the human condition. He went to Russia, because he thought that Marxism had some of the religious attitudes he liked so much. He just thought we could not talk about ethics.
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Re: Existential questions raised in 'Rick and Morty'

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DarlBundren wrote: Mon Mar 20, 2017 10:54 am
NSZ: Critical thinking and mindfulness, by playing the ‘stating the facts game’ instead of comforting philosophical denial, I think Camus envisioned a world where giving people work by building infrastructure wasn’t a partisan issue as one example.
But he doesn't state any fact. He spoke against irrationalism, but he deemed the world irrational. His way of opposing what you call 'comforting philosophical denial' is simply arguing for a form of non-cognitivism. There is nothing to be known, no rule to follow. The only thing that's left is his personal blend of ethical subjectivism. 'Nothing matters, stay strong and live without consolation.' Within that framework. . . he cannot even say that a rapist is worse than someone who decides not to rape. He could try to point out why that rapist should behave differently, maybe, but his words would not matter more than the ones of the rapist's himself. 'There is no truth, only truths', he said in The Myth of Sisyphus.
If someone only read their first book I would agree with you, but that wasn't even the book's aim. It was grappling with why one shouldn't kill themselves under the weight of inevitable extinction, obviously anyone basing public policy on those concepts alone would be severely limited. I do think Camus’ pacifist maxim shines through in this early work, that the rapist who would want you to wish you were dead, same as anyone who is miserable and uses manipulation to find company in that state should be resisted and rehabilitated just as fiercely as any self-inflicted alienation from your own existence and what you can make of it.
. . . he's not able to state, say, that emissions of carbon dioxide effects the climate of the planet (that would mean accepting 'scientific determinism', and he doesn't). . .
Come again? Subscribing to the idea of existence preceding essence means that you cannot accept scientific consensus? You can't read history and find acting on scientific evidence more desirable than where we’ve come from?
At least Sartre tried to create a moral system of sort. Camus rebelled against every possible system of knowledge (but, of course, then he went on to explain how things truly are and why we must rebel against them). I don't find that appealing. It's philosophically useless and, empirically, does a bad job at explaining why we don't treat moral decisions as matters of taste. If we act the way we act only because we are blinded by rules and power structures, how come we cannot stop arguing about what it means to live an ethical life? How come we don't regard it as debating over which kind of ice-cream flavor is the best? And, again, if there's no way of understanding anything, why should I care about what Camus thinks in the first place?
We're going round in circles, I don't find your thought experiments relevant or useful.
NZS: Yes by subscribing to Camus' philosophy which marries humanist and nihilist points of view; we should desire work that fulfills us emotionally, which means elevating past the spectacle of commodity culture that we currently inhabit and towards a system of decentralised governance where it’s easy to comprehend how effort directly contributes to the upkeep of your community and culture
But 'the spectacle of commodity culture' appeals to many people. They are following their emotion when they decide to spend their whole afternoon watching sitcoms. And, arguably, a rapist is following his emotions too when he decides to rape someone. I don't need a system of decentralized governance to understand how badly I would like him to stop.
No but you might appreciate a political philosophy which advocates free voluntary parenting courses and transformative justice to effectively prevent people from becoming rapists and rehabilitate.
We live in a spectacular society, that is, our whole life is surrounded by an immense accumulation of spectacles. Things that were once directly lived are now lived by proxy. Once an experience is taken out of the real world it becomes a commodity. As a commodity the spectacular is developed to the detriment of the real. It becomes a substitute for experience.
This debate has been going on since writing was invented. We have been telling stories and painting caves since the dawn of time and there has always been someone around who tried to argue how all those forms of representation corrupted our experience of the real world. Is writing bad? Take a look at what Socrates had to say on the matter:
Missed the point entirely, it's not a call to the primitive, it's about subverting images and creating new/ more/ better psychogeographies of decentralised image production, not bland commercial ones.
. . .At one end of an institutional continuum one can place the total institutions that routinely destroy the autonomy and initiative of their subjects. At the other end of this continuum lies, perhaps, some ideal version of Jeffersonian democracy. . .
At the other end of the continuum there's probably this: https://www.theguardian.com/science/2016/jan/20/stone-age-massacre-offers-earliest-evidence-human-warfare-kenya
. . .And, more broadly, do the the cumulative effects of life within the patriarchal family, the state and other hierarchical institutions produce a more passive subject who lacks the spontaneous capacity for mutuality so praised by both anarchist and liberal democratic theorists?
Not necessarily. Those forms of libertarianism and anarchism are equally dogmatic. The writer is just appealing to extremes, which is a logical fallacy. If X is true (where x stands for how bad oppression, allegedly, is), then Y (not being 'oppressed' at all) must be great...well, no. I am more concerned about consequences, and I don't have enough evidence to support that position.
But I don't think this is the right thread to discuss that.
Please just read the chapter before you bastardize the philosophy, he was talking about systems of governance that valorize the working man in name only.
NZS: He also thought (at the time he wrote it) his book was the equivalent to the golden age of philosophy and nothing more needed to be written. . .
Yes, and then he changed his mind and wrote another one.
What did you think I meant by "(at the time he wrote it) his book"? We were talking about what concepts it is appropriate to draw from this book.
NZS:. . .It speaks to their short-sighted universalist teleology, but it doesn’t mean I need to be a universalist to call upon it. It’s a valuable meta-ethical concept that also speaks to a desirable ethical nihilist ontology.
Whose short-sighted universalist teleology? Wittgenstein was a christian. He read Dostoyevsky, he read William James. He fought wars because he believed that those experiences could give him true insight into the human condition. He went to Russia, because he thought that Marxism had some of the religious attitudes he liked so much. He just thought we could not talk about ethics.
Exactly so he was partial to pseudo-scientific Determinism - a Christian Universalism where all the answers are already available, or whats left isn't supposed to be known till the 'afterlife' - a closed loop system. He thought all that needed to be said about philosophy of communications had been said, that was short sighted, because he didn't pick it up again till the end of his life and we only have those notes published posthumously.

I'd be really interested to have this discussion if we were talking about epistemology, but I'm less able to stay engaged if we keep going off topic to defend clichéd thought experiments and definitions of words.
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Re: Existential questions raised in 'Rick and Morty'

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I'd be really interested to have this discussion if we were talking about epistemology, but I'm less able to stay engaged if we keep going off topic to defend clichéd thought experiments and definitions of words
I have only been trying to respond to what you have said, but you make debating really difficult by using expressions such as 'psychogeographies of decentralised image production' (as if they were uncontroversial) and by constantly referring to other people's ideas without being able to reformulate them in a clear/approachable fashion. I don't think that's suitable for this kind of forum. Just my two cents though.
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Re: Existential questions raised in 'Rick and Morty'

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DarlBundren wrote: Tue Mar 21, 2017 4:45 pm
I'd be really interested to have this discussion if we were talking about epistemology, but I'm less able to stay engaged if we keep going off topic to defend clichéd thought experiments and definitions of words
I have only been trying to respond to what you have said, but you make debating really difficult by using expressions such as 'psychogeographies of decentralised image production' (as if they were uncontroversial). . .
I don't pretend they aren't controversial, I don't like the moral truth claims that hold up the status quo, I think we can do better than fetishising morality. I subscribe to the philosophy that allows for the experimentation of the most complex interplay of forms of life. You see that as a turn towards the primitive, yet the quote was from a situationist handbook which expressed the dissatisfaction people have with the over saturation of one form of life, capitalism, at a time in '68 in which people were flooding onto the streets to represent their own will better than politicians could do it for them.
. . .and by constantly referring to other people's ideas without being able to reformulate them in a clear/approachable fashion. I don't think that's suitable for this kind of forum. Just my two cents though.
I accept that it is something I can work on, I use quotes and references like extra credit/ further reading, if it's not a common idea, to give more background, so we're not talking past each other. I hope you can also understand the limited usefulness in clichéd thought experiments in seeing the forest for the trees. And for getting to the bottom of truths together not just debating for the sake of it.
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Re: Existential questions raised in 'Rick and Morty'

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Anyhoo aha, I forgot to reply to your artistic critique of the show. Maybe we can find more understanding there.
DarlBundren wrote: Tue Feb 28, 2017 6:10 am . . .Some of them were funny and thought provoking, others seemed to fall into what David Foster Wallace, referring to Bret Easton Ellis's American psycho, called 'black cynicism'.
Larry McCaffery: But at least in the case of “American Psycho” I felt there was something more than just this desire to inflict pain—or that Ellis was being cruel the way you said serious artists need to be willing to be.

David Foster Wallace: . . .In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what’s human and magical that still live and glow despite the times’ darkness. Really good fiction could have as dark a worldview as it wished, but it’d find a way both to depict this world and to illuminate the possibilities for being alive and human in it. You can defend “Psycho” as being a sort of performative digest of late-eighties social problems, but it’s no more than that.
I’m with you on much of what falls under the horror genre often over-representing our negative assumptions, and compounding how we relate cynically to the world. And that even when their aim is to shine a light on this dissociative malaise through performance, they give us a language to understand the misery as more ‘real’ than the struggle to rise above it.

However, I view this show less through the lens of black cynicism and more black comedy. Since it started out as a parody on Back to the Future, it’s just upping the scale on sci-fi absurdity and putting a socially anxious kid struggling to find his place in the world through more out of this world adventures, in that way making everyday life, the small stuff not seem so hard to deal with and even leaving you feeling better mentally equipped.

I made the comparison earlier with Futurama which is much more drama oriented, even though it is based in the same sci-fi anything is possible future, the soap box shifting of social status’s is much more integral to the story. Which is why I think it was lazy manipulative writing to go through a whole episode of the main character wrestling with whether he could/should change the past, to a poignant moment where he learns to let the past lye, only to have it thrown back in your face, that your dog (or mother originally), lived a miserable life waiting on a prayer for you to come home.

Contrast that with Morty being able to tell his Sister that her life has meaning to him because he feels lucky they came from an alternative reality where they screwed everything up so are filling in for the Rick and Morty in this exact copy where they just happened to die in a terrible accident. Letting her share in his experience of the fragility and temporariness of this life, and how that makes every moment you really live that much more important.
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Re: Existential questions raised in 'Rick and Morty'

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I made the comparison earlier with Futurama which is much more drama oriented,
Yes, but Futurama is also deliberately less post-modern (at least the first seasons). I mean, even during its laziest and most manipulative moments, the show still believes to have something to teach you - It's sci-fi, but old-fashioned drama too. For what I can tell, Rick and Morty doesn't fit into that category. The world is too chaotic and too stupid for ethics to make sense. Everyone who has a strong opinion is proven wrong in the end. It bends reality, it breaks expectations, but mostly because it wants you to realize how all that stuff is not worth fretting about.

But again, I have watched just a few episodes. I don't really watch television anymore and I might have had the wrong impression. I think I even know the episode you are talking about. It wasn't good,to be honest, but I understand why you like that scene. It has some redeeming qualities.
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Re: Existential questions raised in 'Rick and Morty'

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New season just released!

Turns out that 'post-modern' inter-dimensional travel through the multiverse is likely a plot device to allow for maximum creative improvisation.[1][2][3]

It’s left open if we are even following the same Rick and Morty each episode. [4]

Along with what the idea of a fallible god that was born and raised among us with a key to omniscience [through expertise at science] would look like, like the demi-god's of the Iliad. [5]

_____________________
References:
1. Improvisation as anarchist organization
- http://www.ephemerajournal.org/contribution/improvisation-anarchist-organization
2. Ian Hislop always tells of having been warned by Peter Cook of "those wonderful Berlin cabarets ... which did so much to stop the rise of Hitler and prevent the outbreak of the Second World War". But there was a pleasure to be found in "living 'as if' they need not be tolerated and are not inevitable.”
3. Alexei Sayle and Stewart Lee talk about the birth of modern stand up comedy and his book 'Thatcher Stole My Trousers'
- https://www.youtube.com/watch?v=SkOvwsyBMDc
4. Rick and Morty Season 3 Update and Funny Moments Secret Story Explained
- https://www.youtube.com/watch?v=Yy8osJWmRrE
5. Stephen Fry Annihilates God
- https://www.youtube.com/watch?v=2-d4otHE-YI
_____________________

Clip from Season 3, Episode 1:
Morty: I don't renounce Rick and I never have, I was just trying to protect my sister, *turns to sister* I wanted you to have a normal life, that's something you can't have when Rick shows up, everything real turns fake, everything right is wrong, all you know is that you know nothing and he knows everything, well he's not a villain summer, but he shouldn't be your hero, he's more like a demon or a super fucked up god.
Council of Ricks: Lets not suck the dick of his ghost too hard, he was a terrorist and now he's dead.
Morty: Oh yeah if you think my Rick's dead, he's alive and you think your safe? he's coming for you!
Console controller: Woh, woh, woh, what are you doing in here? This area is for teleporting the entire Citadel of Ricks somewhere else using only buttons and dials?
Rick: Yeah well bad idea to have it designed that way then, isn't it?
Console controller: What the fuck!? You just teleported us into a galactic federal prison!
Rick: I'm going to go take a shit.
Clip from Season 1, Episode 8:
Morty: Hey you doing okay?
Summer: *Turns to stare angrily as if to say what kind of question is that? Then carries on packing bag to leave*
Morty: I kind of know how you feel.
Summer: No you don’t, you’re the little brother, you’re not the cause of your parents misery, you’re just a symptom of it.
Morty: Can I show you something?
Summer: No offense, but a drawing of me you made when you were eight, isn’t going to make me feel like less of an accident.
Morty: That! Out there! That’s my grave.
Summer: Wait, what?
Morty: On one of our adventures, Rick and I basically destroyed the whole world, so we bailed on that reality and came to this one, because in this one, the world wasn’t destroyed and we were dead. So we came here and we buried our selves and took their place, and every morning I eat breakfast twenty yards away from my own rotting corpse.
Summer: So you’re not my brother?
Morty: I’m better than your brother, because I’m a version of your brother you can trust when he says don’t run, nobody exists on purpose, nobody belongs anywhere, everybody’s going to die. Come watch TV?

Jerry: Well somebody in Hollywood just lost their job.
TV: Written and directed by Jerry Smith.
Jerry: I wrote and directed that? What am I, nuts?
Rick: Oh hey Morty, you just missed a preview for your dad’s Citizen Kane.
Morty: Doesn’t matter. *winks at sister*
Jerry: Hey, if your mother and I had to split custody, who would you guys choose?
Summer: Doesn’t matter. *High fives brother*
TV: Breaking news. Academy Award winning actor Jerry Smith is leading police on a slow speed pursuit after suffering an apparent breakdown.
*Rick picks up the remote to change the channel*
Jerry: Don’t even think about it.
Rick: Come on, are you kidding me, Jerry? It’s just a bunch of dumb tabloid crap.
Jerry: It’s my life and we’re watching it.
*Beth watching alternative Beth drinking, lonely, through the inder-dimential goggles drinking, being lonely.*
Beth: You did it, Beth. You really nailed it. You’re a surgeon. A human surgeon. Yay, you win.
Jerry: Where the hell am I going?
Rick: What are you asking me for Jerry? I’m sitting here trying to figure out why the cops don’t just take you out, they got a clear shot to your head. I can’t believe our tax dollars pay for this.
Alternate Beth: Jerry? Jerry Smith?
Alternate Jerry: Beth Sanchez, I have been in love with you since high school, I hate acting, I hate cocaine, I hate Kristen Stewart, I wish you hadn’t gotten that abortion and I’ve never stopped thinking about what might have been.
*Tanya Donellys’ Belly song starts to play as Beth and Jerry embrace each other with tears streaming down their cheeks, with a new found appreciation of their lives*
Rick: Hey, Ball Fondlers? Huh? Ball Fondlers?
*Interdimensional cable TV plays Ball Fondlers intro with hard rock theme music to excessive violence.*
Writers Commentary from the same episode
Get ready for a really emotionally poignant moment featuring Tanya Donellys’ Belly song.
A lot of people commented how much they love this song.
It's nice that old timers like me and Justin get to introduce today's Millennial groovers to some sweet early 90s alternative rock,
Yeah ‘Feed the Trees’ you know. [saying it ironically but the name of the real album]
See to anyone out there who wants to be a famous actor, just know they're sad and miserable too, doesn't change things, doesn't make you happy.
Well also, like the theme is; chaos and relativity does undermine your search for meaning, but it also undermines your futility, if the universe has no centre, then everywhere is the centre, so just as surely as your relationship means nothing, it can also mean everything.
You’re making me cry dude.
But no really think about a show where there's infinite realities, infinite copies of people, and we're really emotionally... oh yea ball fondlers ahaha.
Writers commentary from the previous episode where they buried their dead selves:
I really wanted to see this happen, this was my big pitch. Ahaha so crazy, boy you can’t top this really, now I'm just realizing we're fucked.
Yeah get ready to be disappointed ladies and gentlemen season 2
We could do all eight seasons just to celebrate, this is like the first Simpsons tree house of horrors – eh fuck it.
We can write this way right into our Malibu mantions as the show progressively gets worse.
If they start making plushies
Yeah exactly; pencils, plushies, cats, and then you gotta go aha
Yeah Justin loves Mazzy Star, yeah I don’t know why. He’s ten years younger than me.
Love him!
I don’t know why we have the same musical tastes.
Coincidentally yeah.
But this is the kind of shit before the so called golden age of TV you had to somehow pitch this to somebody in a suit. That’s why you never saw it on TV because you had to say it aha, then you know around the time of David Chase doing Sopranos like at a certain point people had to, didn’t have to keep making a point for everything, I could just hear a song on NPR and go I’m gonna do this thing and this fish is gonna and funny dream sequence.
Interviewed on their writing process
I immediately called Justin and said whatever you want, whatever you're passionate about. Because good ideas are garbage, the passion is the hard thing to find and Justin immediately said ‘what about these Doc and Marty voices that I do?’ Which at that point had become kind of a running inside joke with Justin just doing this thing as a kind of form of pop cultural vandalism. But it was so infectious, you know that was the funny thing about it, that underneath this horrible screw the Queen like punk rock energy, there was this really charming melody to it that people love doing the voices and so I immediately was like yes that's exactly what I'm talking about, like that's the passion.
We were taking hikes and writing, remember how great that was it was so awesome, you consume and you soke up, so you gotta live and marinate a theory yes yeah stories and an inspiration comes to you I'm very aware of it I'm like oh that's a good idea let me type it down and then I fuck it I'll forget about it until we get in the writers room just spinning ideas out all the writers what do we got what do we got. We’ll fill two huge dry erase boards with ideas like I’ll go up and draw something and we'll just be dying and then I'll try to preserve whatever is making us laugh through the phases of design.

Things you don’t even think about, which is the dumbest things, every prop, every effect, a breed of character. In two seasons we have sweet, we could fill the thickest coffee table book of art it’s crazy, because there is so little reuse on the show, we have a couple writers that are currently like, I bring up Dan again like yeah he's got like an encyclopaedic knowledge of not just movies and TV shows but like well he reads books yeah there’s this science fiction book from 1972, and I'm like okay, Ridly did a passing outline and I got it and I was like holy shit this is fucking going to be insane.

It was a constant water wheel of like change this change that, the little creature he's holding and petting needs to be in perpetual pain, that creature cannot be soothed when it's pet, it needs to be hurt, I have to carry the torch through to the finish line a lot of times on these, so in that particular case that was very much me like okay taking all of Dan's all the things Dan said and then interpreting them into something that I felt passionate about that I was excited about.
Do you feel like you have to bear the brunt of someone's interpretation of that episode or is that not your responsibility now responsibility to deliver the episode hope it's entertaining yes not well okay but you hope it is and pass that point yeah zero fucks given about the message received?

Absolutely! Let's tell the craziest stories, let’s put that in front of everything else, comedy doesn't ever need to shy away from the natural darkness of the universe, that's why comedy was invented, that's the soil it grows out of.
Unofficial librarian of vegan and socialist movement media.
PhiloVegan Wiki: https://tinyurl.com/y7jc6kh6
Vegan Video Library: https://tinyurl.com/yb3udm8x
Ishkah YouTube: https://youtube.com/Ishkah
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