Nate Graham

“Most frequently asked question at my AI talks: Will robots be conscious?

We slaughter 60 billion animals/year, but are concerned for robots?”
― Piero Scaruffi

“I am opposed to animal welfare campaigns for two reasons. First, if animal use cannot be morally justified, then we ought to be clear about that, and advocate for no use. Although rape and child molestation are ubiquitous, we do not have campaigns for “humane” rape or “humane” child molestation. We condemn it all. We should do the same with respect to animal exploitation.

Second, animal welfare reform does not provide significant protection for animal interests. Animals are chattel property; they are economic commodities. Given this status and the reality of markets, the level of protection provided by animal welfare will generally be limited to what promotes efficient exploitation. That is, we will protect animal interests to the extent that it provides an economic benefit.”
― GaryLFrancione

“Everything I’ve ever let go of has claw marks on it.”
― David Foster Wallace

“In this sense the Dionysian man resembles Hamlet: both have once looked truly into the essence of things, they have gained knowledge, and nausea inhibits action; for their action could not change anything in the eternal nature of things; they feel it to be ridiculous or humiliating that they should be asked to set right a world that is out of joint. Knowledge kills action; action requires the veils of illusion: that is the doctrine of Hamlet, not that cheap wisdom of Jack the Dreamer who reflects too much and, as it were, from an excess of possibilities does not get around to action. Not reflection, no--true knowledge, an insight into the horrible truth, outweighs any motive for action, both in Hamlet and in the Dionysian man.

Now no comfort avails any more; longing transcends a world after death, even the gods; existence is negated along with its glittering reflection in the gods or in an immortal beyond. Conscious of the truth he has once seen, man now sees everywhere only the horror or absurdity of existence; now he understands what is symbolic in Ophelia's fate; now he understands the wisdom of the sylvan god, Silenus: he is nauseated.

Here, when the danger to his will is greatest, art approaches as a saving sorceress, expert at healing. She alone knows how to turn these nauseous thoughts about the horror or absurdity of existence into notions with which one can live: these are the sublime as the artistic taming of the horrible, and the comic as the artistic discharge of the nausea of absurdity. The satyr chorus of the dithyramb is the saving deed of Greek art; faced with the intermediary world of these Dionysian companions, the feelings described here exhausted themselves.”
― Friedrich Nietzsche, The Birth of Tragedy / The Case of Wagner