I take your point. Still, when we speak as "philosophers" (or present a crystallization of our living personality in a blog post), we are indeed (like it or not) carving a persona, which is to say an image of ourselves in the mind of another. We do not have direct access to one another. We do tend to attempt at least to control this image. And this makes sense, since we largely define ourselves in terms of the inferior other (liberals versus conservatives is an easy example). We know all too well (from our own dark hearts) how quick to stereotype and categorize that pesky, self-preserving Other can be.
(forewarning: this is a rambly post)
Yes, agreed. I've always struggled to understand the ethical import of the fact that we carve personas. Like, is carving a persona a falsification, a cynical manipulation? Maybe some of the moral stickiness of this stems from the Romantic idea that a work in any given medium can - and ought - to express fully the person who creates it.
One way to sidestep this dynamic is to view any expression, in any medium, as operating within an (inherited) genre. It's impossible for a work, within a genre, to express the whole, and there's no way to escape genre into the Genre of all Genres. Literature's 'realists,' for example, quickly, helplessly, developed their own set of conventions (and also half-consciously imported a whole bunch of old ones.)
This is a kind of language-game type view. A blog post (or anything else) would consist of 'moves' within a game. In addition to object-level moves (just the shit you talk about: Recipes maybe or thoughts on Hegel or Hillary's being implicated by Benghazi etc.) there are also meta-moves which
- communicate your own credentials to make certain object-level moves ('hell I was THERE at Benghazi" "I went to a prestigious culinary school" etc.)
- anticipate and prevent undesired countermoves ( "I know DMT has a reputation, but I'm not one of those Joe Rogan bros, my experience with it stems from my background in chemistry" "One objection to what I've said is x, but this is why x doesn't apply here" etc.)
- change the rules of the game itself (Having trouble thinking of a good example at the moment, but basically reframing things in a way that disrupts the way one's audience has grown to expect how one move will lead to another.)
- facilitate a transition from one game to another ( "OH YEAH, how bout you come down here and say that to my face!"
Anyway, the whole idea is that, if you get rid of the notion that you can or ought to express yourself fully in any one game, then the authentic/inauthentic dialectic and the language of masks no longer applies. An attack on one's honor isn't an unmasking, but an assault on one's right to participate in this or that social or political game. Of course that doesn't make it any less emotionally charged.
& of course, things don't break apart that easily. We contain multitudes, right, and we're animated by different forces that are all jostling to play different games, often at the same time. Many different uses can be made of the same game. So, for instance: talking about an alternative reading of Sartre's Being and Nothingness can be
both an analysis germane to the topic and hand
and a way of signalling that you have the capacity to not only comprehend difficult texts, but to also understand it at a level that goes beyond simply grasping what the author is trying to communicate.
I still can't meditate very well, but I started to get better when I realized the point wasn't to shut up my inner dialogue, but to watch it without identifying with it. (That's a truism, but it took me a long time to realize what that really meant.) But the neat part was seeing how my inner chatter consisted of a bunch of different, like, voices, each with very different goals. One would talk about how much I fucked this up, and that that meant I was BAD . One would talk about conceivable fantasy futures where I'm recognized as really great for x, y or z. One would talk about reasonable, practical ways to do this or that. One (instantly shouted out by the others) would try to get me to remember this or that memory from childhood.
One in particular though, was (is) super obsessed with
stating novel truths. It's an end-in-itself for this voice. It's always on the prowl for new material to do this. But it's also kind of dumb in that it seems to think that the next truth will be the
final one, despite that (obviously) never having happened in the past. This voice likes to team up with the voice that says I'm BAD and the voice that talks about fantasy futures. Or rather, the fantasy future voice and the let's-say-a-truth voice are constantly fighting with the bad voice, in a futile sisyphean tug-of-war. 'You're Bad.' 'But you could be very good!' 'And one way to do that is to find a truth, and say it!'
To go back: while the dialectic is useful, it seems to unfold by drowning out most of the voices, in order to highlight a select few. And when those voices have the stage, they like to pretend they're the only ones.
This seems impossible to escape if you're (half-consciously) identifying with any given voice (and so assenting to what it says). It takes effort - for me at least - to remember that anything I happen to be thinking at any time is only a small part of the actual situation.
In Hegel's case the need to state the final truth was desperately trying to assert itself, I think, above all the other voices. And Hegel was clever and self-conscious enough to realize he couldn't simply ignore those other voices. So instead he organized them and set them in motion in a way that allowed them to be subjected to the one voice.
So, there was a time when I would have written this whole thing goaded on by the 'future fantasy' voice, only to realize that I was looking for recognition for stating a final truth, which would make me feel bad.
But like, Idk, its part true, part not. I'm trying to convey something I actually feel, and, probably, some of the other voices, or tendencies, are gonna try to get their cut, but that's only a small part of the whole.
(Also NB these aren't 'real' voices.)