Review
Books
Culture
Epistimology
Psychology
8 min read

The provocateur philosopher who wants to wean us off the junk food of popular science

David Bentley Hart serves up meat on mind and matter.

Isaac is a PhD candidate in Theology at Durham University and preparing for priesthood in the Church of England.

Two angels converse.
Cupid and Psyche by François Pascal.
Simon Gérard via Wikimedia Commons.

It will be immediately obvious to the reader of David Bentley Hart’s new book that the structure is quite different to most other titles on the philosophy of mind.  

Hart admits that in its original form it was in fact far longer than its substantial 500 plus pages, but, in a perhaps inspired move, it has undertaken a metamorphosis from the ponderous-tome genre of philosophical discourse to one much older: the dialogue. 

Instead of other such works which draw on an enormous and panoramic amount of literature presented in regular academic style with copious footnotes, Hart has opted for intelligibility in the mode of a dialogue between characters, historically most notably deployed by Plato. For this reason, it works well as an audiobook, as well as printed text. The downside to this format is that Hart has opted for a somewhat unfortunate weighting of three-on-one. Whilst this format makes the twist and turn of the at times obstruse argumentation more accessible, the impression can feel somewhat unbalanced. Hephaistos, one of those in dialogue, sometimes cuts a lonely and sympathetic figure, and his opponents sometimes are slightly too self-satisfied. This is not overwhelmingly so, but it is worth remembering that all voices are Hart’s.  

His choice of dialogicians is telling - four Greek divinities. Psyche (soul), the mortal woman made divine by love. Eros (love), the divine lover of Psyche, Hermes, Psychopomp (that is, the guide of souls in the afterlife). And the stolid Hephaistos, god of craft and manufacture, the main antagonist as the advocate of all things materialist and physicalist. Three characters signal Hart’s intent to guide the reader into a new realm beyond the mundane; the fourth is the mouthpiece of this mundanity. Together in a garden, prompted by a plucked rose, they discuss some the deepest questions of mind, matter, and life.  

The title, All Things Are Full of Gods, is a quotation attributed to the pre-Socratic philosopher Thales. Like Thales, Hart wants to argue that not only is the divine a reality but is in fact the ground of all things. The six days of dialogue cover the full gauntlet of metaphysical debate over the nature of reality.   

On day one, ‘Mind, Life, and Pictures of Reality’ the gods set up the groundwork of the reductionist materialist physicalism (RMP) perspective and the older pictures of classical philosophies. 

Day two, ‘Mind and Matter’, draws the battlelines between the qualitative difference between mind and matter. 

Day three, ‘Brain and Mind’, engages with arguments concerning how mind and matter relate. 

On day four, ‘Machine and Soul’, the place of mind in the body is deepened in the debates on computationalism and functionalism and a useful unpacking of the limitations of panpsychism, which is currently seeing a revival in philosophical circles. 

Day five, ‘Soul and Nature’, sees the dialogue broadened to nature itself, reconsidering the mechanical paradigm which presently dominates. 

Concluding, day six, ‘Nature and Supernature’, is where Hart delivers his final case, having thoroughly prepared the ground, arguing that mind characterises all of reality and that this is ultimately the only truly rational account of being.  

In an important ‘Coda: The Age of the Machine’ Hart addresses the problem of evil, something largely absent from the rest of the work. Hart has a good track record on this topic: The Doors of the Sea, written in light of the Boxing Day Tsunami, is essential reading for Christians and others who see the paradox between an all-loving, all-powerful God and the presence of suffering and evil. Readers will have to decide for themselves; it is not a topic on which one may enforce an opinion either way. The discussion concludes on the sixth day, “. . . and on the seventh day they rest.” (483) 

Whilst All Things is dialogic, it also appears to be something else: catechesis. Hart is a catechist. Theologian and philosopher also; linguist certainly; provocateur undoubtedly. But the intention of this book is to catechise the reader, to induct them into the mystery of mind and reality. This might be a somewhat dusty word to some, implying the rote learning of religious dogma. Others will be barely aware of such a word. In Christianity, catechesis is the process of instruction, usually conducted through question and answer.  

Hart is an Eastern Orthodox Christian, though in many ways an unorthodox one. His commitment to a form of perennialism, his belief that many of the major religious philosophies of the world (Vedic, Greek, Jewish, Christian, Islamic) share important and compatible insights into the nature of reality and God as the primordial ground of all things, is evident through the pages of All Things. This is unsurprising as he states that of all his writings All Things is the natural successor to The Experience of God: Being, Consciousness, Bliss (a deliberate allusion to the Vedic concepts of sit, chat, ananda) in which he sought to argue the rational coherence of a theism shared by a number of the great religions over and against the irrationality of modern physicalist materialism. It is worth reading and would certainly give the reader of All Things a primer for the extended discussion.  

But how is it exactly catechesis? Hart wants to wean the reader off the junk food of popular science with its tendency to not take questions about its philosophical basis very seriously, especially in how its epistemology, ‘what it knows’, produces its ontology, ‘what exists’. This deficiency, as Hart is keen to point out, means that often ontology secretly precedes epistemology. For instance, most scientist will take central place of mathematics within their discipline for granted, without acknowledging that mathematics is itself is groundless: it is epistemologically irreducible as it is not empirical, but is ontologically essential to the scientific method. Hart argues that it is in it’s very groundlessness and givenness to intelligibility, i.e. that the world can be understood at all, that means the world in fact shows itself to have rational mind-like structure, capable of being known. Many advocates for RMP will simply shrug and say that we’ve simply evolved to see structure which isn’t inherently there; Hart is here to pick a philosophical bone with them. His intention as catechist is that, even if one does not become a Christian at the end of this book, one can no longer remain in the comfortable and familiar philosophical milk of the dominant RMP paradigm but be stirred to hunger for the meat of reality. Although not an explicitly Christian book, there are certain hints. A number of Christian theologians recur, especially towards the end: Karl Rahner, Bernard Lonergan, Meister Eckhart. That the dialogue is set over six days “. . . and on the seventh day they rest” (483) ought not to be lost on the reader. 

His position in a nutshell is that all is mind or spirit (this linking of terms that are separate in English derives from their indistinction in the German Geist, used extensively in German Idealism, in which a lot of this debate has its origins in modernity). This is not a denial of matter (as in some forms of idealism), but that matter is a material manifestation or substrate of the principle of mind behind all reality: God. In many ways All Things is the extension of his previous book, The Experience of God: Being, Consciousness, Bliss, which he acknowledges in the ‘Introduction’. His position is argued in response to the currently most dominant intellectual paradigm, RMP: the idea that reality consists only of that which is matter or can be observed as a consistent mechanical attribute of matter (such as gravity).  

Hart’s argument rests on a number of fallacies in this paradigm; the most important of these and the one which recurs most frequently throughout the dialogue between the gods is the ‘pleonastic’ fallacy:  

No matter how many purely objective quantitative steps the supposedly mechanistic material order may have taken in the direction of mind, none of them seems as if it could have constituted that sudden qualitative transition from pure exteriority into an unprecedented inwardness.  

In short, quantitative accumulation cannot produce qualitative transformation. Mind is not another form of exterior reality, like the physical world; thought takes up no space and is of an entirely different, interior order. This is Hart’s principle complaint against both RMP and historical forms of dualism such as that of Descartes. The six ‘days’ of dialogue is essentially an account of the various arguments presented by the RMP paradigm to demonstrate that this fallacy is not in fact true. The most important of these concerns the trend in various sciences to speak of ‘emergence’: the appearing of qualities or realities such as mind which, whilst dependent upon a physical foundation for their existence, cannot be understood or explained by examination of their physical foundation; they cannot be reduced (explained) by the substrate. Hart draws the distinction between water’s property to extinguish fire, despite it being made up of the highly combustible elements hydrogen and oxygen, and the emergence of mind as a different order of reality from physical combination: 

Physical properties derived from other physical properties—no great problem there. So long as this is all that’s meant by “emergence,” then the concept is as inoffensive as it is obvious. But there’s a point at which vague talk of emergence is just another way of talking about something that you might otherwise justly call magic.

This is because water’s watery-ness is also a physical phenomenon, the product of the combination of these particular elements in this particular configuration. But this is still and exterior reality; mind on the other hand is not a property like the watery-ness of water because mind is an interior phenomenon, one which is entirely inaccessible except for the mind who is the mind in first-person perspective. To then argue that pure exterior accumulation quantitative of reality can produce this interiority is, to Hart, not only nonsensical but irrational. Part of his argument thus also turns upon the principle of Occam’s Razor: “if you have two competing ideas to explain the same phenomenon, you should prefer the simpler one,” as Chris Simms describes it. With some of the arguments from RMP approaching this almost ‘magical’ solution, Hart is at pains to argue that indeed the simplest explanation for the mind-like structure of reality is that it is indeed Mind. 

 I believe this to be a crucial book in the ongoing dialogue between philosophers and theologians on the one hand and the sciences on the other. The project of pointing out the philosophical problems with the dominant paradigm is a difficult when the other side rarely wishes to listen; Hart, however, is a voice that cannot be ignored. 

 

All Things Are Full of Gods: The Mysteries of Mind and Life, By David Bentley Hart, Yale University Press. 

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Review
Culture
Death & life
Digital
Film & TV
6 min read

Mickey 17: If we replicate then where does our humanity lie?

Bong Joon-ho has a stark warning about dehumanization.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Two cloned humans stand side by side.
Warner Bros.

One of my favourite films of the last decade was Bong Joon-ho’s Parasite, a groundbreaking masterpiece in social commentary, humour and suspense. It won four Academy Awards in 2020, including Best Film - which was a first for a non-English language film - as well as numerous other accolades. So, when the director’s latest project, Mickey 17, was announced, I was eager to see if Bong could deliver another cinematic triumph of similar beauty, depth and precision.  

Mickey 17 took me by surprise. To be honest, the change in genre took some adjusting to, but as I recalibrated my expectations, I realised that the film nevertheless retained Bong’s trademark thought-provoking and daring exploration of identity, purpose and the human condition.  

Mickey 17 is in fact the eighth major film from Bong Joon Ho, but he is probably best known for Snowpiercer and Parasite. These films share common themes, particularly the stark divide between rich and poor and the rigid, two-tier nature of human society. In Parasite, we see the poor trapped in the flood plains of Seoul while the elite live in grand houses on hills. The film is structured around the visual metaphor of descent and ascent. In Snowpiercer, the class struggle is represented by the different carriages of the train, with the poor at the back of the train suffering in squalor while the privileged at the front enjoy luxury. 

Us and them 

In Mickey 17, this theme of societal hierarchy continues but in a futuristic, intergalactic setting. The divide now exists between the expendables—a class of human clones used for dangerous tasks—and the higher echelons of the spaceship crew, who are embarking on a mission to colonize a new planet.  

Mickey’s journey to the spaceship begins in poverty. He and a supposed friend start a business, funding it through a loan shark. When the business fails, the loan shark threatens their lives. Desperate, Mickey signs up for the space expedition, barely reading the fine print—only to discover that he has agreed to be an expendable. 

All expendables are humans who have been digitized – their entire bodies, brains, and psychologies are stored as data. When they die, they are simply reprinted, with only a week’s worth of memory lost. They exist to perform dangerous tasks such as testing the effects of radiation exposure, new vaccines, or extreme planetary conditions. In Mickey’s case, he has been fatally experimented on 16 times. He has been resurrected to his seventeenth version, and while he is still called Mickey, the question is whether this Mickey is the same Mickey who signed up for the space mission in the first place.  

What does it mean to be human? 

One of the film’s central philosophical questions is: What makes someone human? Mickey is biologically and mentally identical to himself, yet each iteration has a different personality. Some versions of him are more caring, others more aggressive or anxious. If he is just a replica, then where does his humanity lie? Is he just a product of his genetic code, or is there something more—something intangible—that makes him who he is? 

It is the same question that has been asked since the beginning of time. The Bible claims that the first human beings were created in the image of God, but what does that mean? Did that first iteration of humankind have the same power, the same worth, the same purpose as God? This was the forbidden fruit dilemma – Adam and Eve were already like God, but the serpent tempts them to eat the fruit so they could be like God in a different way.  

In our technologically advanced world, we are faced with the same fundamental difficulty in defining personhood: are we physical and spiritual beings with intrinsic dignity, infinite worth and unique purpose, or are we just biological replications existing for pre-programmed functions. If human cloning were to become common practice, would each clone be truly human?  

What is a human life worth? 

As far as the ship’s crew is concerned, Mickey is expendable. His pain, suffering, and even his existence are secondary to the mission. While the crew pursue the possibility of extending their own influence and power by colonising another planet, the expendables have no influence or power at all. The portrayal of this devaluing of human life is the most challenging of themes in Bong’s most popular films. In Parasite, the poor are only useful to the rich until they become an inconvenience. In Snowpiercer, the people at the back of the train serve those at the front, but they are seen as disposable. In Mickey 17, this exploitation is taken to its extreme—Mickey’s entire purpose is to die over and over again for the good of others. 

In a world that often assigns value based on productivity, Mickey 17 provides a stark warning about dehumanization. If we begin to measure worth based on what someone can do rather than who they are, we risk treating people as commodities. The Adam and Eve story turns that on its head. They were declared ‘good’ before they were given their roles to take care of one another and creation. Their function was an overflow of their dignity, not the other way around. And even after the forbidden fruit incident where the world was infected with sin and death there is a thread that reminds us that each life is precious. The Psalms declares that each of us is “fearfully and wonderfully made”. Jesus spent his life upholding the dignity of those society deemed inconvenient and expendable – the poor, sick and marginalised.  

What does death achieve? 

Despite dying multiple times, Mickey still fears death. Even though he knows he will be reprinted, the experience remains terrifying. No amount of technology, it seems, can remove the instinctive human fear of mortality. In fact the question that everybody that has contact with Mickey wants to ask is what death feels like, because everyone, whether a friend or simply a user of Mickey has to confront their own mortality. 
In the final act, Mickey makes a choice. Instead of living in an endless cycle of death and resurrection, he chooses to grow old with one person. He destroys the only means by which he could achieve immortality. The film is suggesting that relationship is more important that reusability. Finiteness—the ability to die permanently—is part of what makes life meaningful. 

The Bible teaches that there is an Adam 2.0. While the first Adam brought sin and death into the world, the second Adam – Jesus – brought redemption and eternal life. Both Jesus and Mickey choose death to break the cycle of suffering. But while Mickey chooses to abandon his contract as an expendable, Jesus willingly became expendable for the sake of others. His death was a once-for-all sacrifice that broke the power of death for all.  

What about resurrection? 

If there is life beyond this life what does it look like? Is it merely reprinting? A chance to try again? Or is there, as Adam 2.0 leads us to believe, a resurrection into a whole new world that even science fiction cannot begin to imagine? 

At its heart, Mickey 17 asks profound existential and ethical questions. It forces us to confront what it means to be human, what that human life is worth and how we deal with our mortality. It doesn’t provide us with answers but it invites us to wrestle with these crucial ideas. And in doing so, it points us back to the only hope that is worth having: a view of life where value is not earned, our existence is not expendable, and death is not the end. 

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