An Enquiry Concerning Human Understanding

Posted by Ali Reda | Posted in | Posted on 8/18/2014

Hume discusses the distinction between impressions and ideas. By "impressions", he means sensations, while by "ideas", he means memories and imaginings. According to Hume, the difference between the two is that ideas are less vivacious than impressions. For example, the idea of the taste of an orange is far inferior to the impression (or sensation) of actually eating one. Writing within the tradition of empiricism, he argues that impressions are the source of all ideas. Hume's empiricism consisted in the idea that it is our knowledge, and not our ability to conceive, that is restricted to what can be experienced. He also explains that the difference between belief and fiction is that the former produces a certain feeling of confidence which the latter doesn't.
When we reason a priori, and consider merely any object or cause, as it appears to the mind, independent of all observation, it never could suggest to us the notion of any distinct object, such as its effect; much less, show us the inseparable and inviolable connexion between them. A man must be very sagacious who could discover by reasoning that crystal is the effect of heat, and ice of cold, without being previously acquainted with the operation of these qualities.
If we reason a priori, anything may appear able to produce anything. The falling of a pebble may, for aught we know, extinguish the sun; or the wish of a man control the planets in their orbits. It is only experience, which teaches us the nature and bounds of cause and effect, and enables us to infer the existence of one object from that of another.
However, Hume admits that there is one objection to his account: the problem of "The Missing Shade of Blue". In this thought-experiment, he asks us to imagine a man who has experienced every shade of blue except for one. He predicts that this man will be able to divide the color of this particular shade of blue, despite the fact that he has never experienced it. This seems to pose a serious problem for the empirical account, though Hume brushes it aside as an exceptional case by stating that one may experience a novel idea that itself is derived from combinations of previous impressions.

Hume accepts that ideas may be either the product of mere sensation, or of the imagination working in conjunction with sensation. According to Hume, the creative faculty makes use of (at least) four mental operations which produce imaginings out of sense-impressions. These operations are compounding (or the addition of one idea onto another, such as a horn on a horse to create a unicorn); transposing (or the substitution of one part of a thing with the part from another, such as with the body of a man upon a horse to make a centaur); augmenting (as with the case of a giant, whose size has been augmented); and diminishing (as with Lilliputians, whose size has been diminished)

Hume discusses how the objects of inquiry are either "relations of ideas" or "matters of fact", which is roughly the distinction between analytic and synthetic propositions. The former, he tells the reader, are proved by demonstration, while the latter are given through experience. But here arises a question,  why do we suppose that multiple repetitions of an experiment justify us in a necessary law? He shows how a satisfying argument for the validity of experience can be based neither on demonstration (since "it implies no contradiction that the course of nature may change") nor experience (since that would be a circular argument). So there is no certainty of experience to ensure knowledge through cause and effect.
When it is asked, What is the nature of all our reasonings concerning matter of fact? the proper answer seems to be, that they are founded on the relation of cause and effect. When again it is asked, What is the foundation of all our reasonings and conclusions concerning that relation? it may be replied in one word, experience. But if we still carry on our sifting humor, and ask, What is the foundation of all conclusions from experience? this implies a new question, which may be of more difficult solution and explication. 
All reasonings may be divided into two kinds, namely, demonstrative reasoning or that concerning relations of ideas, and moral reasoning, or that concerning matter of fact and existence. That there are no demonstrative arguments in the case seems evident; since it implies no contradiction that the course of nature may change, and that an object, seemingly like those which we have experienced, may be attended with different or contrary effects. May I not clearly and distinctly conceive that a body, falling from the clouds, and which, in all other respects, resembles snow, has yet the taste of salt or feeling of fire? Is there any more intelligible proposition than to affirm, that all the trees will Sourish in December and January, and decay in May and June? Now whatever is intelligible, and can be distinctly conceived, implies no contradiction, and can never be proved false by any demonstrative argument or abstract reasoning a priori.
If we be, therefore, engaged by arguments to put trust in past experience, and make it the standard of our future judgement, these arguments must be probable only, or such as regard matter of fact and real existence, according to the division above mentioned. But that there is no argument of this kind, must appear, if our explication of that species of reasoning be admitted as solid and satisfactory. We have said that all arguments concerning existence are founded on the relation of cause and effect, that our knowledge of that relation is derived entirely from experience, and that all our experimental conclusions proceed upon the supposition that the future will be conformable to the past. To endeavour, therefore, the proof of this last supposition by probable arguments, or arguments regarding existence, must be evidently going in a circle, and taking that for granted, which is the very point in question. 
For all inferences from experience suppose, as their foundation, that the future will resemble the past, and that similar powers will be conjoined with similar sensible qualities. If there be any suspicion that the course of nature may change, and that the past may be no rule for the future, all experience becomes useless, and can give rise to no inference or conclusion. It is impossible, therefore, that any arguments from experience can prove this resemblance of the past to the future; since all these arguments are founded on the supposition of that resemblance. 
For Hume, we assume that experience tells us something about the world because of habit or custom due to our imagination, the observation of constant conjunction of certain impressions across many instances. This is also, presumably, the "principle" that organizes the connections between ideas. And this principle can be changed any time because there is no logical reason or empirical justification for it to be necessary.
The first time a man saw the communication of motion by impulse, as by the shock of two billiard balls, he could not pronounce that the one event was connected: but only that it was conjoined with the other. After he has observed several instances of this nature, he then pronounces them to be connected. What alteration has happened to give rise to this new idea of connexion? Nothing but that he now feels these events to be connected in his imagination, and can readily foretell the existence of one from the appearance of the other. When we say, therefore, that one object is connected with another, we mean only that they have acquired a connexion in our thought, and give rise to this inference, by which they become proofs of each other's existence: A conclusion which is somewhat extraordinary, but which seems founded on sufficient evidence. Nor will its evidence be weakened by any general diffidence of the understanding, or sceptical suspicion concerning every conclusion which is new and extraordinary. No conclusions can be more agreeable to scepticism than such as make discoveries concerning the weakness and narrow limits of human reason and capacity.
It seems evident that, if all the scenes of nature were continually shifted in such a manner that no two events bore any resemblance to each other, but every object was entirely new, without any similitude to whatever had been seen before, we should never, in that case, have attained the least idea of necessity, or of a connexion among these objects. We might say, upon such a supposition, that one object or event has followed another; not that one was produced by the other. The relation of cause and effect must be utterly unknown to mankind. Inference and reasoning concerning the operations of nature would, from that moment, be at an end; and the memory and senses remain the only canals, by which the knowledge of any real existence could possibly have access to the mind. Our idea, therefore, of necessity and causation arises entirely from the uniformity observable in the operations of nature, where similar objects are constantly conjoined together, and the mind is determined by custom to infer the one from the appearance of the other. These two circumstances form the whole of that necessity, which we ascribe to matter. Beyond the constant conjunction of similar objects, and the consequent inference from one to the other, we have no notion of any necessity or connexion.
Without the influence of custom, we should be entirely ignorant of every matter of fact beyond what is immediately present to the memory and senses. We should never know how to adjust means to ends, or to employ our natural powers in the production of any effect. There would be an end at once of all action, as well as of the chief part of speculation.
When we run over libraries, persuaded of these principles, what havoc must we make? If we take in our hand any volume; of divinity or school metaphysics, for instance; let us ask, Does it contain any abstract reasoning concerning quantity or number? No. Does it contain any experimental reasoning concerning matter of fact and existence? No. Commit it then to the flames: for it can contain nothing but sophistry and illusion.
On Miracles, is the last chapter in the Enquiry, Hume argues that as the evidence for a miracle is always limited, as miracles are single events, occurring at particular times and places, the evidence for the miracle will always be outweighed by the evidence against — the evidence for the law of which the miracle is supposed to be a transgression. There are, however, two ways in which this argument might be neutralised. First, if the number of witnesses of the miracle be greater than the number of witnesses of the operation of the law, and secondly, if a witness be 100% reliable (for then no amount of contrary testimony will be enough to outweigh that person's account). And both cases can't happen.

Reason is, and ought only to be the slave of the passions, and can never pretend to any other office than to serve and obey them. In the sense that practical reason alone cannot give rise to moral motivation. Hume opposes the view that to act morally is have a rational grasp of moral truths. The role of reason is only to find out which means helps achieve a given goal. Reason (or the intellect) plays no part in determining the goals. Our goals are set exclusively by what Hume calls the passions and what today is most often called desires. Desires cannot be evaluated as true or false or as reasonable or unreasonable - they are "original existences" in our mind and arise from unknown natural causes. We cannot be criticized rationally for our desires. As Hume remarks, it is "not contrary to reason to prefer the destruction of the whole world to the scratching of my finger".

Japanese Culture's Social Traits in Language

Posted by Ali Reda | Posted in | Posted on 8/16/2014

Professor Doi in his book "The anatomy of Independence" starts out by making a linguistic relativity hypothesis based observation that any word that exists in one language but cannot be expressed easily in others, refers to a phenomena which is culturally important in culture of the first language, but not so important in the culture of the others which lack a means of its expression. Quoting linguist Benjamin Whorf:
Every language is a vast pattern-system, different from others, in which are culturally ordained the forms and categories by which the personality not only communicates, but also analyzes nature, notices or neglects types of relationship and phenomena, channels his reasoning, and builds the house of his consciousness.
Amaeru is according to him is a word that cannot be directly translated into English. It means the need or desire to be loved. It denotes dependency needs.

Another word is Sumimasen or sumanai, which is according to him, a strange term as it encapsulates both gratitude and apology.  The derivation of sumimasen is to finish, to end, to be completed. In other words, the matter disputed is not ended because one has not done everything one should have done.  Thus it expresses a strong feeling of need to apologize for the other person.

The Japanese perspective on freedom comes in the word jiyuu. When the Japanese needed a word for the Western concept this is the one they choose.  Traditionally, Doi argues, this word has meant freedom in the sense of free to amaeru. It’s usage was within the context of the group.

In the Western sense, freedom has served as the basis for asserting individuality. In Japan, little value is attributed to the individual’s private realm as distinct from the group as a result you find the ambiguity and hesitation of self-expression is a common trait in the Japanese people. The reasons for a whole number of Japanese traits, mostly in terms of group harmony’ or a lack of individualism revolve around either a) rice agriculture being important in Japanese history or b) Japan’s geography forcing people to live close together.

Doi describes how the post-war removal of ideological restrictions (The introduction of American/Western concepts of freedom) didn't directly serve the cause of individualism, but by destroying the traditional channels of amae had contributed, if anything, to the spiritual and social confusion. Increasingly, young people are tempted to delay marriage – sometimes indefinitely – in order to enjoy the greater freedoms and higher disposable income associated with extended singlehood. This has led to some criticism of so-called parasite singles’, 20- and 30-somethings dedicated mainly to their own consumerist pleasures and vertical hierarchy.

Pre-marital sexual activity is the norm, and indeed many Japanese men and women seek extra-marital liaisons or relationships. Numerous telephone clubs’ exist, providing a means for men to contact available women, who may include high-school students or housewives: free tissue packets advertising these clubs are handed out to commuters at busy stations. A 1994 survey suggested that one in three teenage girls had contacted such clubs (McGregor,1996: 241). Compensated dating’, where a man provides money or gifts to a woman in exchange for dates or sexual favours, is relatively common. So called love hotels’, garish buildings renting rooms by the hour, are widespread throughout Japan, providing facilities for clandestine encounters.

Some thinkers such as Sartre, have held onto the idea of human freedom as the only absolute in the face of a superstructure in the process of collapse. He replies:
Yet where does this type of freedom lead?  Ultimately, it can only mean – if not the simple gratification of individual desires – solidarity with others through participation, in which the Western idea of freedom becomes ultimately something not so different from the Japanese.
Mono no aware is a Japanese term for "a gentle sadness toward the passing of things as well as a longer, deeper gentle sadness about this state being the reality of life". This feeling heightens appreciation of their beauty, and evokes a gentle sadness at their passing. The association of the cherry blossom with mono no aware dates back to 18th-century scholar Motoori Norinaga. The transience of the blossoms, the extreme beauty and quick death, has often been associated with mortality. The government even encouraged the people to believe that the souls of downed warriors were reincarnated in the blossoms. This term was coined in the 18th century by the Edo period Japanese cultural scholar Motoori Norinaga and was originally a concept used in his literary criticism of The Tale of Genji. Others have compared mono no aware to Virgils term lacrimae rerum in the Aeneid, Latin for "tears of things". The world is a world of tears, and the burdens of mortality touch the heart.

The Medium is the Massage

Posted by Ali Reda | Posted in | Posted on 6/22/2014

Societies have always been shaped more by the nature of the media by which men communicate than by the content of the communication. It is impossible to understand social and cultural changes without a knowledge of the workings of media. The alphabet, for instance, is a technology that is absorbed by the very young child in a completely unconscious manner, by osmosis so to speak. Words and the meaning of words predispose the child to think and act automatically in certain ways.

Until writing was invented, man lived in acoustic space: boundless, directionless, horizonless, in the dark of the mind, in the world of emotion, by primordial intuition, by terror. Speech is a social chart of this bog. Listeners could memorize with greater ease what was sung than what was said. Plato attacked this method because it discouraged disputation and argument. It was in his opinion the chief obstacle to abstract, speculative reasoning—he called it "a poison, and an enemy of the people."

Print technology changed our perceptual habits ("visual homogenizing of experience"), which in turn affects social interactions ("fosters a mentality that gradually resists all but a... specialist outlook"). The alphabet and print technology fostered and encouraged a fragmenting process, a process of specialism and of detachment. The public consists of separate individuals walking around with separate, fixed points of view. The advent of print technology contributed to and made possible most of the salient trends in the Modern period in the Western world: individualism, democracy, Protestantism, capitalism and nationalism.

McLuhan wrote that the visual, individualistic print culture would soon be brought to an end by what he called "Electric technology". In this new age, humankind will move from individualism and fragmentation to a collective identity that encourages unification and involvement, with a "tribal base." McLuhan's coinage for this new social organization is the global village. Today's television child is attuned to up-to-the-minute "adult" news—inflation, rioting, war, taxes, crime, bathing beauties —and is bewildered when he enters the nineteenth-century environment that still characterizes the educational establishment where information is scarce but ordered and structured by fragmented, classified patterns, subjects, and schedules. A new form of "politics" is emerging, and in ways we haven't yet noticed. The living room has become a voting booth. Participation via television in Freedom Marches, in war, revolution, pollution, and other events is changing everything. The rational man in our Western culture is a visual man. We now live in a global village...a simultaneous happening.

Though the World Wide Web was invented thirty years after The Gutenberg Galaxy was published, McLuhan may have coined and certainly popularized the usage of the term "surfing" to refer to rapid, irregular and multidirectional movement through a heterogeneous body of documents or knowledge.

Reading, writing, and hierarchical ordering are associated with the left brain, as are the linear concept of time and phonetic literacy. The left brain is the locus of analysis, classification, and rationality. The right brain is the locus of the spatial, tactile, and musical. "Comprehensive awareness" results when the two sides of the brain are in true balance. McLuhan writes about robotism in the context of Japanese Zen Buddhism and how it can offer us new ways of thinking about technology. The Western way of thinking about technology is too much related to the left hemisphere of our brain, which has a rational and linear focus. McLuhan and Powers criticize the Shannon-Weaver model of communication as emblematic of left-hemisphere bias and linearity, descended from Aristotelean causality

Kafka on the Shore

Posted by Ali Reda | Posted in | Posted on 6/04/2014

The First Half of the story is narrated in the first person by a 15-year old boy who calls himself Kafka. He runs away from home because he’s grown up under a curse, that he’ll one day murder his father and sleep with his mother and sleep with his sister. This curse is pronounced on Kafka at a young age by his father, after his mother has left the family and taken his sister with her. 

He drifts west from Tokyo and ends up in Takamatsu, taking refuge at the private Komura Memorial Library.  He’s quickly befriended by the assistant to the head of the library, a youth named Oshima. Oshima had a troubled youth himself, so he takes pity on the young runaway and arranges for him to live in the library in a spare room.

The head of the library is an ethereally attractive 50-something woman named Saeki who has a mysterious past.  She had grown up with the young heir of the Komura family, and they’d been in love. But then he went to college in Tokyo, got caught up in the student movement, and got beaten to death by radicals who mistook him for a spy.  Saeki never recovered.  She disappeared from Takamatsu for decades, and only returned a few years ago to take over as head of the library.  

Kafka is lodged in the room that had once belonged to Komura.  On the wall is a painting of a boy sitting on a seashore.  The painting is titled “Kafka on the Shore”.  Now, it’s not lost on Kafka that he kinda looks like the kid in the painting or that Saeki is the right age to be his mother now. And then the 15-year-old Saeki appears in his room at night a couple of times and then the present-day Saeki comes to his room and they make love. Earlier we learn that Kafka’s father, a sculptor, was found stabbed to death in Tokyo on the same night that Kafka wakes up covered with blood on the grounds of a shrine in Takamatsu, with a blank in his memory of several hours. Although physically there was no way he could have done it, Kafka is convinced that he spirit-projected a la Rokujo and killed his father. He also has a dream about a 21-year-old girl he’d met on the bus to Tokushima.  He suspected she was his sister, although with no particular justification, and in the dream he rapes her.

Kafka then wanders into the woods surrounding Oshima’s cabin (where he’s holed up because the police have been searching for him in connection with his father’s death) and visits what seems to be the netherworld. He’s led there by two WWII soldiers known to have disappeared on this mountain, and while there he meets first the 15-year-old Saeki and then the adult Saeki, newly arrived.  He’s happy to stay there, but she tells him he must go back, must live and remember her.  She more or less sort of confirms his suspicion that she’s his mother, and asks his forgiveness, which he gives. Then he goes back to the world of the living, where he learns (though he suspected it) that Saeki has died of a heart attack. He decides to go back to Tokyo and finish junior high, and Oshima says he’s welcome to come work at the library when he’s ready.

The other storyline, narrated entirely in the third person, concerns an old man named Nakata.  As a boy during the war Nakata had been beaten into a coma by a teacher, and when he recovered he was retarded.  Lost all his memory, and never relearned how to read.  As an old man in Tokyo – in the same Nakano-ku that Kafka lived in – he survives on city assistance and a little help from his elite brothers.  And, because he can talk to cats, he picks up a little extra cash finding lost cats. 

One day the search for a lost cat leads him to the house of Johnnie Walker – a guy who looks just like the Johnnie Walker on the whiskey bottle (although Nakata doesn’t recognize him).  He says he’s not Johnnie Walker, but just borrowed his identity to manifest himself here.  He’s been capturing cats, torturing them, eating their hearts, and stealing their souls to make a flute that will allow him to collect more souls.  But now he’s weary and he wants Nakata to kill him.  Nakata is a gentle soul, so Johnnie kills a couple of cats in front of him to arouse his violence, and then Nakata picks up a knife and stabs him to death.  We realize that somehow this Johnnie Walker was Kafka’s father.

Nakata tries to confess to the police, but they think he’s crazy and let him go.  So he leaves Tokyo, hitchhiking westward.  Along the way he realizes that he can no longer talk to cats, but can make odd things fall from the sky – leeches or fish.  Why he’s traveling west even he doesn’t know, but he has something he needs to do.  Eventually he is taken in by a young truckdriver named Hoshino who, reminded of his beloved late grandfather, ends up taking off work and chaperoning Nakata on his mission, whatever this is.

Without knowing it they’re following in Kafka’s tracks, first to Tokushima and then Takamatsu.  In Takamatsu, Nakata realizes he needs to find a stone called the Entrance Stone.  He has no idea how to do this.  But while he’s sleeping, Hoshino goes out on the town and runs into a guy who looks just like, and calls himself, Colonel Sanders, like the KFC mascot.  This guy says he knows where the stone is, and will tell Hoshino, but Hoshino has to hire one of his hookers first – he’s a pimp.  Hoshino finally agrees, sleeps with the girl, and then Colonel Sanders takes him to a shrine and shows him the stone – a round white stone the size of an LP. 

Hoshino takes it back to Nakata.  Nakata, after conversing with the stone, tells Hoshino he needs to flip it over.  This takes all of Hoshino’s strength, since the stone has miraculously become almost infinitely heavy, but he lifts it. Then Nakata says he needs to do something else, and has Hoshino drive him around until they stumble across the Komura Library. This is the place, says Nakata, and the next day they go in. Nakata meets Saeki and talks with her alone.  He tells her the entrance stone is open, and that his role is to put things back in order.  She asks if this is because she went in before – Nakata has no idea.  He leaves.  Later that day is when Oshima finds her dead.

Back at their apartment (a hideout prepared for them by Colonel Sanders), Nakata goes to sleep, and then dies in his sleep. Hoshino knows that he has to close the entrance stone, but it’s just a normal, light stone right now.  A cat appears on the windowsill and tells him (now Hoshino can talk to cats) to wait until It comes and kill it.  Then he can close the stone.  What? But he waits, and eventually a white, slug-like thing crawls out of Nakata’s corpse.  No limbs or face.  Hoshino does battle with it, and finally drops the stone on it, killing it.  Then the stone is heavy, and he can wrestle with it and flip it, closing the entrance.

He leaves the cops to claim Nakata’s body, but says that he’ll always carry a part of Nakata with him – he’s been changed.

My Interpretation is that Nakata storyline is just Kafka’s dream. 

The Life-Giving Sword

Posted by Ali Reda | Posted in | Posted on 6/02/2014

The Life-Giving sword, melts Zen teachings with sword fighting. Munenori found the middle ground between technique and spirituality. He had inherited the ideals of no-sword from a long line of ancestor priests and samurai, the sword being a medium for life rather than death. He teaches how to overcome opponents mentally by achieving the state of No-Mind. By freeing your mind from attachments (sickness), your mind can only act without even thinking of this action. This state is called Emptiness, to act without thinking.

The Life-Giving sword


In a chaotic society many people are killed for no reason, the death-dealing sword is using to bring chaos under control. Once this is done the same sword can be a life-giving sword. The Life Giving Sword – one gives life to the opponents sword, leading the opponent to a place where he gives up the sword, hence giving life. An opponent should be subdued without killing him. In some cases, an especially evil swordsman may be killed to save countless others in the future.

Knowledge


In the Great Learning it says to extend your knowledge to all things, to know people of the world to and understand the principles of all existing things. If you do not understand the principles of things then nothing will come of your actions. If you lack knowledge, you harbor doubts and these doubts will never leave your mind. What you don't understand obstructs your mind and everything becomes difficult. When questions are cleared up they become nothing, you will achieve an emptiness and your actions will be in harmony with what you have learned without your being aware of it.

The Continually Moving Mind


It is the very mind itself that leads the mind astray. The mind must be kept free from attachment and fixation, stopping the mind, abiding, meant certain death from the opponent's sword. If your opponent lifts his sword, you mind shifts with the sword, if it moves to the left or right, your mind shifts accordingly.  If your mind stops you will be defeated in the martial arts, if it remains in the place where it has shifted, the results will be merciless. The mind that releases the mind is one that is let go and does not stop moving. If you keep a released mind, your movements will always be free.

The continually moving mind is philosophically symbolized by the avatar Fudo Myo-o, the Wisdom King, often depicted holding a sword in one hand for cutting through ignorance, and a rope in the other for tying up passions.

Sickness


When using the sword, if your mind is occupied with thoughts of plying the sword, its tip will not likely be regulated. When practicing calligraphy, if your mind is occupied by thoughts of writing, the brush will be unsettled. When playing the koto, if your mind is filled with thoughts of plucking the strings, the melody will be confused. This is because you do it with a mind occupied with doing something well.

To think only of winning is sickness, to think only of martial arts is sickness, to think of making an attack or waiting for one is sickness, to fixate on eliminating sickness is sickness.  What remains stationary in the mind is sickness, as these sicknesses manifest in the mind, you must expel them.

Emptiness

Abbot Lungchi said to some monks: "Do not see the existent pillar as a pillar; do not see the non-existent pillar as a pillar. Expel Existence and Non-Existence altogether, and make what lies behind them your own".
With Emptiness a swordsman is able to see the inside and the outside, the active and the pre-active. To be able to judge an opponent's actions before they are manifested. This is achieved through tremendous meditation. Emptiness allows you to see the mind of your opponent, it has no color, no form, it is a void. The firmly held mind is also empty and cannot be seen, it strikes at the point where the hand has not yet moved. Victory is determined a thousand miles away. Do not lose the ordinary state of mind, if you think “I won't move”, you have already moved. Moving is in itself the principle of not being moved. If a man blinks normally, that is natural, if he stops blinking, his mind has moved.

No-Mind


Training in technique is done to transcend training itself, by taking training to the ultimate the swordsman goes beyond the fetters of technique. Swordsmanship can be executed with interference from the mind. When you have run the length of various practices, those practices will no longer remain in your mind and that lack of mind is at the heart of all things. By then forgetting your training and casting off your mind, you can become more aware of yourself and your environment, you have put aside thoughts of doing things well and have attained the realm of no-thought / no-mind. You will not be self-conscious and your mind will not be occupied with your actions. You will make no mistakes, but if your mind slips, you will miss your aim. If you maintain no-mind you will always hit the mark. You enter through training and arrive at absence. At this point you don't know where your mind is, daemons and heresies will not be able to find it.

The middle ground is the balance between going too fast and too slow, going fast is the result of fright, going slow results from being overwhelmed.