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The science experiment preceding the comment involved measurements of attitude affected by first introducing participants to short collections of words that might have an impact on subsequent perception of other subjects.

I thought the science silly, actually, but it lent itself to the kernel, which at this point for me seems iterative.

The “priming” referred to in the article attaches to two fundamental concepts in the cultural perception of good and evil: language metonymy and social grammar. To delve into one may involve dipping into linguistics and poetry and the other wants for focus on the processing of cultural and social signals in infancy’s language acquisition period.

In essence, science still gives us a glimpse of what may be known empirically and religion becomes the mirror of cultural expression, imagination, and invention. “Good”, from such a clinical perspective, becomes what culture and language have become together across time for the set of constituent speakers.

Two enjoyable reference in this area: Daniel Everett’s Don’t Sleep, There are Snakes and Language: The Cultural Tool.

I cannot emphasize the idea too much that a romantic combat signals the poetic arrangement of symbols suspended in language and woven around the fighter’s own self-concept and image.

When one has cause to denote the pen mightier than the sword, doing so recognizes that good and evil, beauty and sophistry, guidance and misguidance involve the speech of either healthy or poisonous tongues and then an accurate or inaccurate assessment of states of affairs.

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We humans don’t live through our organics: rather, we live with them and at times, this with age especially so, barely tolerate them; where we actually live is within the mouth-ear-mind-heart system that we use to tell ourselves about ourselves and others and the world.

If we’re to find greatness and heroism within ourselves and our ranks, it’s in that vessel woven out of strings of words fashioned like steel; if we’re to be disheartened or humbled, it may be through the deformation or shattering of those same strings, and then perhaps for their being either too rigid to withstand a little pressure or too gimp with receiving a load of confusion to keep their own best form.

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