I find this discussion posted below wonderful. Neither Jordan Peterson or Slavoj Žižek are Christians, but they are both influenced deeply by classically Christian concepts. In this discussion , which was billed as a debate but turns out much better, begins with each speaking formally for 30 minutes, then each getting 10 minutes to respond to the other’s intro speeches, then it goes into a back and forth series of questions and responses. Both of these men have lively minds and that kind of humility that undergirds the search for truth. In effect what we have here is a modern version of a Platonic dialogue.
I have been somewhat of a fan of Žižek for years and more recently of Peterson — not an unqualified fan of course. In the end, at least in terms of this “debate,” they constitute, or at least lean towards, a kind of Christian balance but, I believe, without the full realization they are doing so. Peterson lays out his path, a kind of stoicism as it were, of pursuing the good life, and Žižek responds with a deep pessimism. My immediate thought was of St. Paul writing to the Romans about how he does the things he ought not to do and does not do what he ought, thus finding within himself the principle of sin acting against him. We might agree with Peterson’s path but find ourselves repeatedly incapable of staying on that path. In this sense the biggest lacuna in this particular discussion, and I believe in both men’s general work about the human condition, is a complete understanding of sin and its effects, though they both seem to have a better understanding than most. Nonetheless, this dialogue between these two original (especially Žižek) and deeply cogent (especially Peterson) thinkers is an incredible opportunity to have one’s mind creatively engaged.
I’ve been on somewhat of a phenomenology kick lately. In that time I’ve come across the brilliant French philosopher Jean-Luc Marion. I have posted several of his videos already. Here are two more. The first one below I find is quite brilliant, in which he works through the logic of giving, gift giving, receiving a gift, and the nature(s) of the gift.
If I understand his explanation of “the gift,” I can’t help but think of the following passage from the Gospel of St. Matthew 5:38-48
38 “You have heard that it was said, ‘An eye for an eye and a tooth for a tooth.’ 39 But I say to you, Do not resist one who is evil. But if any one strikes you on the right cheek, turn to him the other also; 40 and if any one would sue you and take your coat, let him have your cloak as well; 41 and if any one forces you to go one mile, go with him two miles. 42 Give to him who begs from you, and do not refuse him who would borrow from you. 43 “You have heard that it was said, ‘You shall love your neighbor and hate your enemy.’ 44 But I say to you, Love your enemies and pray for those who persecute you, 45 so that you may be sons of your Father who is in heaven; for he makes his sun rise on the evil and on the good, and sends rain on the just and on the unjust. 46 For if you love those who love you, what reward have you? Do not even the tax collectors do the same? 47 And if you salute only your brethren, what more are you doing than others? Do not even the Gentiles do the same? 48 You, therefore, must be perfect, as your heavenly Father is perfect.”
We live an age that desperately wants to deny the existence of Hell, that wants to believe that all will go the Heaven, that God will not really judge us (at least not judge *me* but probably should judge others) but is, rather, pure love which, translated according to our desires, means God is really more a feeling than our creator. But the Truth is different. All of us will face the four last things: Death, Judgement, Heaven, and Hell.
Sometimes what we need most is a straightforward, no punches pulled presentation of the Truth we all must and will face. Matthew Plese does that in the video below.
Perhaps it’s always been this way, but certainly today, and unfortunately within the Church, people tend to roll their eyes at descriptions of Hell. But we know that the last four things are real. We know that Hell is real. To know the Truth is not a bad thing. It is, in fact, a very good thing, a necessary thing. One reaction we too often hear is that at the very first mention of Hell people complain that we don’t need to constantly and always be hearing about Hell; why all this talk about Hell; why all this doom and gloom? Why can’t we talk about grace and joy? But grace and joy contain their meaning because they stand in contrast to sin and Hell. We ought to seek being saved from Hell. Christ spoke bluntly about Hell. He said many people are going there. We ought to think about it. Fear of Hell should ultimately be subservient to a love of God and the light of Christ, but Hell must not be forgotten. The fear of Hell is, in fact, a good thing, and gives deep meaning to the salvation being offered us.
At the 2020 Grammy Awards the progressive rock band Tool won the award for Best Metal Performance with their song 7EMPEST from their album Fear Inoculum. When two of the band’s members came to the stage to accept the award, the first to speak was the tall, blond drummer Danny Carey.
Although I did not see their acceptance moment when it happened, I read that Carey had said a short tribute to the recently deceased drummer, Neil Peart of the mega prog band Rush. Peart was one of the greatest rock drummers in history, a true phenomenon in the music world, and one of my favorite musicians. I first heard Peart play in the early 1980’s when I bought the album “Exit… Stage Left” and and nearly wore the grooves flat joyfully playing it ad nauseum.
Hearing of Carey’s mention of Peart, I checked out Tool, and especially their latest album. I had heard of them years ago, but never really listened to their music, so much of what I write here will already be well known to some of you. I discovered they are very, very good (they did just win a Grammy, and have won others), and I liked the first several tracks a lot. In particular I focused on Carey’s drumming, and he is amazing; a true master of his craft. Part way into the album I decided to learn more about Tool and about Carey.
What I discovered disturbed me.
Danny Carey is a gifted, world class musician. From his Grammys acceptance speech he also seems like a great guy, a loving husband and father, and I would assume he is a kind and gentle man. I have nothing against him and, in fact, wish him all the best. Of course, as a Catholic, I also wish him the grace and mercy of God, things we are all in desperate need of.
But here’s my concern: Carey is into the occult, and it appears he does not merely dabble, but takes it quite seriously. In fact, his father was a master Freemason and since Carey was a child he has been deeply fascinated with the occult. His drumming is an extension, in a way, of his occult practices; even a way to channel demons. Read his bio below to learn some of the salient details of his occult studies and their role in his music.
Danny grew up in Paola, KS. Relatively normal, an element of mystery was added to Danny’s childhood when one day he spied his father with a large sword conducting a Masonic ritual. Danny would later notice himself performing similar movements when he began playing drums at the age of thirteen. As Danny progressed through high school and then college at the University of Missouri in Kansas City he began supplementing his studies in percussion with speculation into the principles of geometry, science, and metaphysics. A commitment to life as an artist brought Danny to LA where he was able to perform as a studio drummer with projects like Carole King and play around town with Pygmy Love Circus. He would later find an outlet for addressing a fuller scope of his potentials in Tool and another project operating under the title of Zaum. Despite not becoming a Mason or aligning himself with any other school of religion, Danny has maintained his heritages interest in occult studies. Endeavors into this realm have manifested periodically, such as the time he achieved insight into a hidden aspect of the unicursal hexagram utilizing an astral journey initiated through meditation and DMT. Danny then set up his drums into proportions utilizing the circle and square of the New Jerusalem and uttered a short prayer relating to the principles of the ace of swords from the book of Thoth. He then performed a ritual utilizing his new found knowledge of the unicursal hexagram to generate a pattern of movement in space relating to Fuller’s vector equilibrium model. The resulting rhythm and gateway summoned a daemon he has contained within “the Lodge” that has been delivering short parables similar to passages within the Book of Lies. Danny recommends as a device of protection and containment a thorough study and utilization of the underlying geometry of the Temple of Solomon for anyone purchasing their next record.
[Note: This is from 2011 from the band’s website. I could not find or access a more current bio. However, this recent article seems to validate the older bio.]
When I read Carey’s bio I immediately stopped listening to Tool’s album, quickly pulling the earplugs out of my ears. I suddenly felt the need to distance myself from the music and the band. I was mad that I liked the music, knowing that it has certain qualities I find attractive. I had to turn away. But I also couldn’t stop wondering about Carey, who seems like a really nice guy who’s into really dark things. And I realize that I may be the last person to know about Tool and its use fascination with the occult.
People are into all kinds of things that are dangerous, foolish, and sinful. This has always been typical of us humans, but I think interest into dark things, specifically the occult, is growing by leaps and bounds today. I know that the world is crazy and has little interest in Christ the King. And I know perhaps sometimes we just might have to roll our eyes or shrug our shoulders at some of the things we see. We can’t get worked up over every evil in the world. None of us have that kind of stamina or bandwidth. But the Devil is real. Demons are real. And this is not a little thing.
Specifically, I was struck by two things in the bio above. First, the way he sets up his drums and has played them summoned a demon that is somehow currently active in his playing. Carey say it’s “contained,” but I doubt it. We don’t contain or control demons. Rather, they fool us, and play us, and use us, and eventually abuse us. Second, he recommends that anyone buying their album should have a “device of protection.” This is truly frightening. I doubt Carey consciously intends any harm (I could be wrong), but I believe he is not only playing with fire, he has become, and has unleashed, an actual threat to the wellbeing of potentially thousands or even millions of listeners. His Faustian bargain has won him a Grammy, but the Devil plays for keeps. The Devil wants more than a Grammy. I fear that listening to their album could bring (channel?) demons into one’s own life. In fact, I’m sure of it — and I’m a feet on the ground, level-headed guy.
Demons are real. Demons are truly evil and powerful. Demons ought not to be played with.
Saint Michael the Archangel, defend us in battle, be our defense against the wickedness and snares of the devil; may God rebuke him, we humbly pray; and do thou, O Prince of the heavenly host, by the power of God, thrust into hell Satan and all the evil spirits who prowl about the world seeking the ruin of souls. Amen.
I’ve been curious about women wearing veils at Mass. My family is relatively new to the Catholic Church. Very few women at the Mass (Novus Ordo) we attend wear veils. It’s natural to not want to stand out. Veiling is an entirely foreign concept for us, coming as we are from Protestant-land. But I have to admit, perhaps it’s even a bit strange, that women who wear veils at Mass or in the adoration chapel, somehow appear to me as more beautiful in the moment than those who don’t veil. I wonder why? I find it both odd and compelling.
I want to know more about veiling. My sense is that it’s actually a profound theological fact built into the very fabric of creation, of human nature and natural law, and of the reality of the Church. I believe it may be a natural language giving to us by God, teaching us and forming us. Perhaps when women wear veils before the Real Presence they are more fully complete in some mysterious way. If this is true, then parishes where veiling is largely absent and not promoted are at the very least failing to allow themselves to be taught and formed by this truth given to us by our Creator. At worse, we may actually be sinning by giving in to modernist and false ideas of women, men, the Church, and of Christ Himself. I wonder if the Church should place a higher priority on the practice. I’m leaning to a strong yes.
Why do priest never preach on veiling? Why do they never seek to teach their parishioners on what veiling means, why anyone would or should consider it? I’ve never once heard a homily about it one way or the other. Are they ignorant about veiling? Frightening to speak up? Are they against veiling? Perhaps they believe they are merely being obedient. But I can’t really blame them for not touching the subject if they feel they don’t have to. So, why don’t bishops touch the subject. I don’t know.
I find it interesting that the official Church declaration, Inter Insigniores (1976), states:
But it must be noted that these ordinances, probably inspired by the customs of the period, concern scarcely more than disciplinary practices of minor importance, such as the obligation imposed upon women to wear a veil on their head (1 Cor 11:2-16); such requirements no longer have a normative value.
And yet in the passage it references, 1 Cor 11:2-16, it is clear that St. Paul’s reasoning is not from culture but from the very design of creation and natural law. Although he uses the words of handing on traditions, he also argues: “But I want you to understand that the head of every man is Christ, the head of a woman is her husband, and the head of Christ is God.” And again: “For a man ought not to cover his head, since he is the image and glory of God; but woman is the glory of man.” And again: “For man was not made from woman, but woman from man. Neither was man created for woman, but woman for man.” And again: “That is why a woman ought to have a veil on her head, because of the angels.” In each case he argues from non-cultural positions, but rather teaches from the structure of creation, of the very origins of man and woman, and of the angels. I think St. Paul would disagree with Inter Insigniores. What do we do with this? Were the writers of Inter Insigniores “infected” with modernism? Were they worried of the biblical language in light of the rise of feminism? The use of the word “imposed” is interesting. In any case, I can’t say. I’m ignorant on this.
Therefore I’m trying to learn. Below are a couple of videos that I find interesting. The first is more theological, and it starts by looking at veiling broadly (why during passiontide do we veil crucifixes and statues? why ever veil anything?), then it looks at women wearing (or not) veils at Mass. I have watched this video several times now. The second video is more about personal testimonies from those who have chosen to veil.
If you so choose, I would love to know your thoughts on veiling. Feel free to add your comments.
Recently I stumbled across the brilliant philosopher Jean-Luc Marion. I have been reading some philosophy lately, and my focus has been mostly on phenomenology. I studied a bit of phenomenology in college, along with structuralism, post-structuralism, and deconstructionism. For reasons I can’t quite fathom, I now find myself diving back into these areas of thought.
Jean-Luc Marion is particularly interesting to me, in part because he is an unapologetic Catholic. I recently posted a video in which he answers the question of why he remains Catholic. I love his answers. (I guess one could say he is, in fact, apologetic because he provides an apologia for his faith.)
Below are two of his lectures. Though he is a philosopher and, therefore, brings his deeper thinking to the topics at hand, I find these talks very accessible. His very French accent is quite thick, but one gets used to it. I have now listened to each a couple of times. They are excellent.