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Saturday, September 28, 2024

Instrumental and intrinsic value

In moral philosophy, instrumental and intrinsic value are the distinction between what is a means to an end and what is as an end in itself. Things are deemed to have instrumental value (or extrinsic value) if they help one achieve a particular end; intrinsic values, by contrast, are understood to be desirable in and of themselves. A tool or appliance, such as a hammer or washing machine, has instrumental value because it helps one pound in a nail or clean clothes, respectively. Happiness and pleasure are typically considered to have intrinsic value insofar as asking why someone would want them makes little sense: they are desirable for their own sake irrespective of their possible instrumental value. The classic names instrumental and intrinsic were coined by sociologist Max Weber, who spent years studying good meanings people assigned to their actions and beliefs.

The Oxford Handbook of Value Theory provides three modern definitions of intrinsic and instrumental value:

  1. They are "the distinction between what is good 'in itself' and what is good 'as a means'."
  2. "The concept of intrinsic value has been glossed variously as what is valuable for its own sake, in itself, on its own, in its own right, as an end, or as such. By contrast, extrinsic value has been characterized mainly as what is valuable as a means, or for something else's sake."
  3. "Among nonfinal values, instrumental value—intuitively, the value attaching a means to what is finally valuable—stands out as a bona fide example of what is not valuable for its own sake."

When people judge efficient means and legitimate ends at the same time, both can be considered as good. However, when ends are judged separately from means, it may result in a conflict: what works may not be right; what is right may not work. Separating the criteria contaminates reasoning about the good. Philosopher John Dewey argued that separating criteria for good ends from those for good means necessarily contaminates recognition of efficient and legitimate patterns of behavior. Economist J. Fagg Foster explained why only instrumental value is capable of correlating good ends with good means. Philosopher Jacques Ellul argued that instrumental value has become completely contaminated by inhuman technological consequences, and must be subordinated to intrinsic supernatural value. Philosopher Anjan Chakravartty argued that instrumental value is only legitimate when it produces good scientific theories compatible with the intrinsic truth of mind-independent reality.

The word value is ambiguous in that it is both a verb and a noun, as well as denoting both a criterion of judgment itself and the result of applying a criterion. To reduce ambiguity, throughout this article the noun value names a criterion of judgment, as opposed to valuation which is an object that is judged valuable. The plural values identifies collections of valuations, without identifying the criterion applied.

Max Weber

The classic names instrumental and intrinsic were coined by sociologist Max Weber, who spent years studying good meanings people assigned to their actions and beliefs. According to Weber, "[s]ocial action, like all action, may be" judged as:

  1. Instrumental rational (zweckrational): action "determined by expectations as to the behavior of objects in the environment of other human beings; these expectations are used as 'conditions' or 'means' for the attainment of the actor's own rationally pursued and calculated ends."
  2. Value-rational (wertrational): action "determined by a conscious belief in the value for its own sake of some ethical, aesthetic, religious, or other form of behavior, independently of its prospects of success."

Weber's original definitions also include a comment showing his doubt that conditionally efficient means can achieve unconditionally legitimate ends:

[T]he more the value to which action is oriented is elevated to the status of an absolute [intrinsic] value, the more "irrational" in this [instrumental] sense the corresponding action is. For the more unconditionally the actor devotes himself to this value for its own sake…the less he is influenced by considerations of the [conditional] consequences of his action.

John Dewey

John Dewey thought that belief in intrinsic value was a mistake. Although the application of instrumental value is easily contaminated, it is the only means humans have to coordinate group behaviour efficiently and legitimately.

Every social transaction has good or bad consequences depending on prevailing conditions, which may or may not be satisfied. Continuous reasoning adjusts institutions to keep them working on the right track as conditions change. Changing conditions demand changing judgments to maintain efficient and legitimate correlation of behavior.

For Dewey, "restoring integration and cooperation between man's beliefs about the world in which he lives and his beliefs about the values [valuations] and purposes that should direct his conduct is the deepest problem of modern life." Moreover, a "culture which permits science to destroy traditional values [valuations] but which distrusts its power to create new ones is a culture which is destroying itself."

Dewey agreed with Max Weber that people talk as if they apply instrumental and intrinsic criteria. He also agreed with Weber's observation that intrinsic value is problematic in that it ignores the relationship between context and consequences of beliefs and behaviors. Both men questioned how anything valued intrinsically "for its own sake" can have operationally efficient consequences. However, Dewey rejects the common belief—shared by Weber—that supernatural intrinsic value is necessary to show humans what is permanently "right." He argues that both efficient and legitimate qualities must be discovered in daily life:

Man who lives in a world of hazards…has sought to attain [security] in two ways. One of them began with an attempt to propitiate the [intrinsic] powers which environ him and determine his destiny. It expressed itself in supplication, sacrifice, ceremonial rite and magical cult.… The other course is to invent [instrumental] arts and by their means turn the powers of nature to account.… [F]or over two thousand years, the…most influential and authoritatively orthodox tradition…has been devoted to the problem of a purely cognitive certification (perhaps by revelation, perhaps by intuition, perhaps by reason) of the antecedent immutable reality of truth, beauty, and goodness.… The crisis in contemporary culture, the confusions and conflicts in it, arise from a division of authority. Scientific [instrumental] inquiry seems to tell one thing, and traditional beliefs [intrinsic valuations] about ends and ideals that have authority over conduct tell us something quite different.… As long as the notion persists that knowledge is a disclosure of [intrinsic] reality…prior to and independent of knowing, and that knowing is independent of a purpose to control the quality of experienced objects, the failure of natural science to disclose significant values [valuations] in its objects will come as a shock.

Finding no evidence of "antecedent immutable reality of truth, beauty, and goodness," Dewey argues that both efficient and legitimate goods are discovered in the continuity of human experience:

Dewey's ethics replaces the goal of identifying an ultimate end or supreme principle that can serve as a criterion of ethical evaluation with the goal of identifying a method for improving our value judgments. Dewey argued that ethical inquiry is of a piece with empirical inquiry more generally.… This pragmatic approach requires that we locate the conditions of warrant for our value judgments in human conduct itself, not in any a priori fixed reference point outside of conduct, such as in God's commands, Platonic Forms, pure reason, or "nature," considered as giving humans a fixed telos [intrinsic end].

Philosophers label a "fixed reference point outside of conduct' a "natural kind," and presume it to have eternal existence knowable in itself without being experienced. Natural kinds are intrinsic valuations presumed to be "mind-independent" and "theory-independent."

Dewey grants the existence of "reality" apart from human experience, but denied that it is structured as intrinsically real natural kinds. Instead, he sees reality as functional continuity of ways-of-acting, rather than as interaction among pre-structured intrinsic kinds. Humans may intuit static kinds and qualities, but such private experience cannot warrant inferences or valuations about mind-independent reality. Reports or maps of perceptions or intuitions are never equivalent to territories mapped.

People reason daily about what they ought to do and how they ought to do it. Inductively, they discover sequences of efficient means that achieve consequences. Once an end is reached—a problem solved—reasoning turns to new conditions of means-end relations. Valuations that ignore consequence-determining conditions cannot coordinate behavior to solve real problems; they contaminate rationality.

Value judgments have the form: if one acted in a particular way (or valued this object), then certain consequences would ensue, which would be valued. The difference between an apparent and a real good [means or end], between an unreflectively and a reflectively valued good, is captured by its value [valuation of goodness] not just as immediately experienced in isolation, but in view of its wider consequences and how they are valued.… So viewed, value judgments are tools for discovering how to live a better life, just as scientific hypotheses are tools for uncovering new information about the world.

In brief, Dewey rejects the traditional belief that judging things as good in themselves, apart from existing means-end relations, can be rational. The sole rational criterion is instrumental value. Each valuation is conditional but, cumulatively, all are developmental—and therefore socially-legitimate solutions of problems. Competent instrumental valuations treat the "function of consequences as necessary tests of the validity of propositions, provided these consequences are operationally instituted and are such as to resolve the specific problems evoking the operations."

J. Fagg Foster

John Fagg Foster made John Dewey's rejection of intrinsic value more operational by showing that its competent use rejects the legitimacy of utilitarian ends—satisfaction of whatever ends individuals adopt. It requires recognizing developmental sequences of means and ends.

Utilitarians hold that individual wants cannot be rationally justified; they are intrinsically worthy subjective valuations and cannot be judged instrumentally. This belief supports philosophers who hold that facts ("what is") can serve as instrumental means for achieving ends, but cannot authorize ends ("what ought to be"). This fact-value distinction creates what philosophers label the is-ought problem: wants are intrinsically fact-free, good in themselves; whereas efficient tools are valuation-free, usable for good or bad ends. In modern North-American culture, this utilitarian belief supports the libertarian assertion that every individual's intrinsic right to satisfy wants makes it illegitimate for anyone—but especially governments—to tell people what they ought to do.

Foster finds that the is-ought problem is a useful place to attack the irrational separation of good means from good ends. He argues that want-satisfaction ("what ought to be") cannot serve as an intrinsic moral compass because 'wants' are themselves consequences of transient conditions.

[T]he things people want are a function of their social experience, and that is carried on through structural institutions that specify their activities and attitudes. Thus the pattern of people's wants takes visible form partly as a result of the pattern of the institutional structure through which they participate in the economic process. As we have seen, to say that an economic problem exists is to say that part of the particular patterns of human relationships has ceased or failed to provide the effective participation of its members. In so saying, we are necessarily in the position of asserting that the instrumental efficiency of the economic process is the criterion of judgment in terms of which, and only in terms of which, we may resolve economic problems.

Since 'wants' are shaped by social conditions, they must be judged instrumentally; they arise in problematic situations when habitual patterns of behavior fail to maintain instrumental correlations.

Examples

Foster uses with homely examples to support his thesis that problematic situations ("what is") contain the means for judging legitimate ends ("what ought to be"). Rational efficient means achieve rational developmental ends. Consider the problem all infants face learning to walk. They spontaneously recognize that walking is more efficient differently to crawling—an instrumental valuation of a desirable end. They learn to walk by repeatedly moving and balancing, judging the efficiency with which these means achieve their instrumental goal. When they master this new way-of-acting, they experience great satisfaction, but satisfaction is never their end-in-view.

Revised definition of 'instrumental value'

To guard against contamination of instrumental value by judging means and ends independently, Foster revised his definition to embrace both.

Instrumental value is the criterion of judgment which seeks instrumentally-efficient means that "work" to achieve developmentally-continuous ends. This definition stresses the condition that instrumental success is never short term; it must not lead down a dead-end street. The same point is made by the currently popular concern for sustainability—a synonym for instrumental value.

Dewey's and Foster's argument that there is no intrinsic alternative to instrumental value continues to be ignored rather than refuted. Scholars continue to accept the possibility and necessity of knowing "what ought to be" independently of transient conditions that determine actual consequences of every action. Jacques Ellul and Anjan Chakravartty were prominent exponents of the truth and reality of intrinsic value as constraint on relativistic instrumental value.

Jacques Ellul

Jacques Ellul made scholarly contributions to many fields, but his American reputation grew out of his criticism of the autonomous authority of instrumental value, the criterion that John Dewey and J. Fagg Foster found to be the core of human rationality. He specifically criticized the valuations central to Dewey's and Foster's thesis: evolving instrumental technology.

His principal work, published in 1954, bore the French title La technique and tackles the problem that Dewey addressed in 1929: a culture in which the authority of evolving technology destroys traditional valuations without creating legitimate new ones. Both men agree that conditionally-efficient valuations ("what is") become irrational when viewed as unconditionally efficient in themselves ("what ought to be"). However, while Dewey argues that contaminated instrumental valuations can be self-correcting, Ellul concludes that technology has become intrinsically destructive. The only escape from this evil is to restore authority to unconditional sacred valuations:

Nothing belongs any longer to the realm of the gods or the supernatural. The individual who lives in the technical milieu knows very well that there is nothing spiritual anywhere. But man cannot live without the [intrinsic] sacred. He therefore transfers his sense of the sacred to the very thing which has destroyed its former object: to technique itself.

The English edition of La technique was published in 1964, titled The Technological Society, and quickly entered ongoing disputes in the United States over the responsibility of instrumental value for destructive social consequences. The translator of Technological Society summarizes Ellul's thesis:

Technological Society is a description of the way in which an autonomous [instrumental] technology is in process of taking over the traditional values [intrinsic valuations] of every society without exception, subverting and suppressing those values to produce at last a monolithic world culture in which all non-technological difference and variety is mere appearance.

Ellul opens The Technological Society by asserting that instrumental efficiency is no longer a conditional criterion. It has become autonomous and absolute:

The term technique, as I use it, does not mean machines, technology, or this or that procedure for attaining an end. In our technological society, technique is the totality of methods rationally arrived at and having absolute efficiency (for a given stage of development) in every field of human activity.

He blames instrumental valuations for destroying intrinsic meanings of human life: "Think of our dehumanized factories, our unsatisfied senses, our working women, our estrangement from nature. Life in such an environment has no meaning." While Weber had labeled the discrediting of intrinsic valuations as disenchantment, Ellul came to label it as "terrorism." He dates its domination to the 1800s, when centuries-old handicraft techniques were massively eliminated by inhuman industry.

When, in the 19th century, society began to elaborate an exclusively rational technique which acknowledged only considerations of efficiency, it was felt that not only the traditions but the deepest instincts of humankind had been violated. Culture is necessarily humanistic or it does not exist at all.… [I]t answers questions about the meaning of life, the possibility of reunion with ultimate being, the attempt to overcome human finitude, and all other questions that they have to ask and handle. But technique cannot deal with such things.… Culture exists only if it raises the question of meaning and values [valuations].… Technique is not at all concerned about the meaning of life, and it rejects any relation to values [intrinsic valuations].

Ellul's core accusation is that instrumental efficiency has become absolute, i.e., a good-in-itself; it wraps societies in a new technological milieu with six intrinsically inhuman characteristics:

  1. artificiality;
  2. autonomy, "with respect to values [valuations], ideas, and the state;"
  3. self-determinative, independent "of all human intervention;"
  4. "It grows according to a process which is causal but not directed to [good] ends;"
  5. "It is formed by an accumulation of means which have established primacy over ends;"
  6. "All its parts are mutually implicated to such a degree that it is impossible to separate them or to settle any technical problems in isolation."

Criticism

Philosophers Tiles and Oberdiek (1995) find Ellul's characterization of instrumental value inaccurate. They criticize him for anthropomorphizing and demonizing instrumental value. They counter this by examining the moral reasoning of scientists whose work led to nuclear weapons: those scientists demonstrated the capacity of instrumental judgments to provide them with a moral compass to judge nuclear technology; they were morally responsible without intrinsic rules. Tiles and Oberdiek's conclusion coincides with that of Dewey and Foster: instrumental value, when competently applied, is self-correcting and provides humans with a developmental moral compass.

For although we have defended general principles of the moral responsibilities of professional people, it would be foolish and wrongheaded to suggest codified [intrinsic] rules. It would be foolish because concrete cases are more complex and nuanced than any code could capture; it would be wrongheaded because it would suggest that our sense of moral responsibility can be fully captured by a code. In fact, as we have seen in many instances, technology simply allows us to go on doing stupid things in clever ways. The questions that technology cannot solve, although it will always frame and condition the answers, are "What should we be trying to do? What kind of lives should we, as human beings, be seeking to live? And can this kind of life be pursued without exploiting others? But until we can at least propose [instrumental] answers to those questions we cannot really begin to do sensible things in the clever ways that technology might permit.

Semi realism (Anjan Chakravartty)

Anjan Chakravartty came indirectly to question the autonomous authority of instrumental value. He viewed it as a foil for the currently dominant philosophical school labeled "scientific realism," with which he identifies. In 2007, he published a work defending the ultimate authority of intrinsic valuations to which realists are committed. He links the pragmatic instrumental criterion to discredited anti-realist empiricist schools including logical positivism and instrumentalism.

Chakravartty began his study with rough characterizations of realist and anti-realist valuations of theories. Anti-realists believe "that theories are merely instruments for predicting observable phenomena or systematizing observation reports;" they assert that theories can never report or prescribe truth or reality "in itself." By contrast, scientific realists believe that theories can "correctly describe both observable and unobservable parts of the world." Well-confirmed theories—"what ought to be" as the end of reasoning—are more than tools; they are maps of intrinsic properties of an unobservable and unconditional territory—"what is" as natural-but-metaphysical real kinds.

Chakravartty treats criteria of judgment as ungrounded opinion, but admits that realists apply the instrumental criterion to judge theories that "work." He restricts such criterion's scope, claiming that every instrumental judgment is inductive, heuristic, accidental. Later experience might confirm a singular judgment only if it proves to have universal validity, meaning it possesses "detection properties" of natural kinds. This inference is his fundamental ground for believing in intrinsic value.

He commits modern realists to three metaphysical valuations or intrinsic kinds of knowledge of truth. Competent realists affirm that natural kinds exist in a mind-independent territory possessing 1) meaningful and 2) mappable intrinsic properties.

Ontologically, scientific realism is committed to the existence of a mind-independent world or reality. A realist semantics implies that the theoretical claims [valuations] about this reality have truth values, and should be construed literally.… Finally, the epistemological commitment is to the idea that these theoretical claims give us knowledge of the world. That is, predictively successful (mature, non-ad hoc) theories, taken literally as describing the nature of a mind-independent reality are (approximately) true.

He labels these intrinsic valuations as semi-realist, meaning they are currently the most accurate theoretical descriptions of mind-independent natural kinds. He finds these carefully qualified statements necessary to replace earlier realist claims of intrinsic reality discredited by advancing instrumental valuations. Science has destroyed for many people the supernatural intrinsic value embraced by Weber and Ellul. But Chakravartty defended intrinsic valuations as necessary elements of all science—belief in unobservable continuities. He advances the thesis of semi-realism, according to which well-tested theories are good maps of natural kinds, as confirmed by their instrumental success; their predictive success means they conform to mind-independent, unconditional reality.

Causal properties are the fulcrum of semirealism. Their [intrinsic] relations compose the concrete structures that are the primary subject matters of a tenable scientific realism. They regularly cohere to form interesting units, and these groupings make up the particulars investigated by the sciences and described by scientific theories. Scientific theories describe [intrinsic] causal properties, concrete structures, and particulars such as objects, events, and processes. Semirealism maintains that under certain conditions it is reasonable for realists to believe that the best of these descriptions tell us not merely about things that can be experienced with the unaided senses, but also about some of the unobservable things underlying them.

Chakravartty argues that these semirealist valuations legitimize scientific theorizing about pragmatic kinds. The fact that theoretical kinds are frequently replaced does not mean that mind-independent reality is changing, but simply that theoretical maps are approximating intrinsic reality.

The primary motivation for thinking that there are such things as natural kinds is the idea that carving nature according to its own divisions yields groups of objects that are capable of supporting successful inductive generalizations and prediction. So the story goes, one's recognition of natural categories facilitates these practices, and thus furnishes an excellent explanation for their success. The moral here is that however realists choose to construct particulars out of instances of properties, they do so on the basis of a belief in the [mind-independent] existence of those properties. That is the bedrock of realism. Property instances lend themselves to different forms of packaging [instrumental valuations], but as a feature of scientific description, this does not compromise realism with respect to the relevant [intrinsic] packages.

In sum, Chakravartty argues that contingent instrumental valuations are warranted only as they approximate unchanging intrinsic valuations. Scholars continue to perfect their explanations of intrinsic value, as they deny the developmental continuity of applications of instrumental value.

Abstraction is a process in which only some of the potentially many relevant factors present in [unobservable] reality are represented in a model or description with some aspect of the world, such as the nature or behavior of a specific object or process. ... Pragmatic constraints such as these play a role in shaping how scientific investigations are conducted, and together which and how many potentially relevant factors [intrinsic kinds] are incorporated into models and descriptions during the process of abstraction. The role of pragmatic constraints, however, does not undermine the idea that putative representations of factors composing abstract models can be thought to have counterparts in the [mind-independent] world.

Realist intrinsic value as proposed by Chakravartty, is widely endorsed in modern scientific circles, while the supernatural intrinsic value endorsed by Max Weber and Jacques Ellul maintains its popularity throughout the world. Doubters about the reality of instrumental and intrinsic value are few.

Essay

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Essay

Essays of Michel de Montaigne

An essay is, generally, a piece of writing that gives the author's own argument, but the definition is vague, overlapping with those of a letter, a paper, an article, a pamphlet, and a short story. Essays have been sub-classified as formal and informal: formal essays are characterized by "serious purpose, dignity, logical organization, length," whereas the informal essay is characterized by "the personal element (self-revelation, individual tastes and experiences, confidential manner), humor, graceful style, rambling structure, unconventionality or novelty of theme," etc.

Essays are commonly used as literary criticism, political manifestos, learned arguments, observations of daily life, recollections, and reflections of the author. Almost all modern essays are written in prose, but works in verse have been dubbed essays (e.g., Alexander Pope's An Essay on Criticism and An Essay on Man). While brevity usually defines an essay, voluminous works like John Locke's An Essay Concerning Human Understanding and Thomas Malthus's An Essay on the Principle of Population are counterexamples.

In some countries (e.g., the United States and Canada), essays have become a major part of formal education. Secondary students are taught structured essay formats to improve their writing skills; admission essays are often used by universities in selecting applicants, and in the humanities and social sciences essays are often used as a way of assessing the performance of students during final exams.

The concept of an "essay" has been extended to other media beyond writing. A film essay is a movie that often incorporates documentary filmmaking styles and focuses more on the evolution of a theme or idea. A photographic essay covers a topic with a linked series of photographs that may have accompanying text or captions.

Definitions

John Locke's 1690 An Essay Concerning Human Understanding

The word essay derives from the French infinitive essayer, "to try" or "to attempt". In English essay first meant "a trial" or "an attempt", and this is still an alternative meaning. The Frenchman Michel de Montaigne (1533–1592) was the first author to describe his work as essays; he used the term to characterize these as "attempts" to put his thoughts into writing.

Subsequently, essay has been defined in a variety of ways. One definition is a "prose composition with a focused subject of discussion" or a "long, systematic discourse". It is difficult to define the genre into which essays fall. Aldous Huxley, a leading essayist, gives guidance on the subject. He notes that "the essay is a literary device for saying almost everything about almost anything", and adds that "by tradition, almost by definition, the essay is a short piece". Furthermore, Huxley argues that "essays belong to a literary species whose extreme variability can be studied most effectively within a three-poled frame of reference". These three poles (or worlds in which the essay may exist) are:

  • The personal and the autobiographical: The essayists that feel most comfortable in this pole "write fragments of reflective autobiography and look at the world through the keyhole of anecdote and description".
  • The objective, the factual, and the concrete particular: The essayists that write from this pole "do not speak directly of themselves, but turn their attention outward to some literary or scientific or political theme. Their art consists of setting forth, passing judgment upon, and drawing general conclusions from the relevant data".
  • The abstract-universal: In this pole "we find those essayists who do their work in the world of high abstractions", who are never personal and who seldom mention the particular facts of experience.

Huxley adds that the most satisfying essays "...make the best not of one, not of two, but of all the three worlds in which it is possible for the essay to exist."

History

Montaigne

Montaigne's "attempts" grew out of his commonplacing. Inspired in particular by the works of Plutarch, a translation of whose Œuvres Morales (Moral works) into French had just been published by Jacques Amyot, Montaigne began to compose his essays in 1572; the first edition, entitled Essais, was published in two volumes in 1580. For the rest of his life, he continued revising previously published essays and composing new ones. A third volume was published posthumously; together, their over 100 examples are widely regarded as the predecessor of the modern essay.

Europe

While Montaigne's philosophy was admired and copied in France, none of his most immediate disciples tried to write essays. But Montaigne, who liked to fancy that his family (the Eyquem line) was of English extraction, had spoken of the English people as his "cousins", and he was early read in England, notably by Francis Bacon.

Bacon's essays, published in book form in 1597 (only five years after the death of Montaigne, containing the first ten of his essays), 1612, and 1625, were the first works in English that described themselves as essays. Ben Jonson first used the word essayist in 1609, according to the Oxford English Dictionary. Other English essayists included Sir William Cornwallis, who published essays in 1600 and 1617 that were popular at the time, Robert Burton (1577–1641) and Sir Thomas Browne (1605–1682). In Italy, Baldassare Castiglione wrote about courtly manners in his essay Il Cortigiano. In the 17th century, the Spanish Jesuit Baltasar Gracián wrote about the theme of wisdom.

In England, during the Age of Enlightenment, essays were a favored tool of polemicists who aimed at convincing readers of their position; they also featured heavily in the rise of periodical literature, as seen in the works of Joseph Addison, Richard Steele and Samuel Johnson. Addison and Steele used the journal Tatler (founded in 1709 by Steele) and its successors as storehouses of their work, and they became the most celebrated eighteenth-century essayists in England. Johnson's essays appear during the 1750s in various similar publications. As a result of the focus on journals, the term also acquired a meaning synonymous with "article", although the content may not the strict definition. On the other hand, Locke's An Essay Concerning Human Understanding is not an essay at all, or cluster of essays, in the technical sense, but still it refers to the experimental and tentative nature of the inquiry which the philosopher was undertaking.

In the 18th and 19th centuries, Edmund Burke and Samuel Taylor Coleridge wrote essays for the general public. The early 19th century, in particular, saw a proliferation of great essayists in English—William Hazlitt, Charles Lamb, Leigh Hunt and Thomas De Quincey all penned numerous essays on diverse subjects, reviving the earlier graceful style. Thomas Carlyle's essays were highly influential, and one of his readers, Ralph Waldo Emerson, became a prominent essayist himself. Later in the century, Robert Louis Stevenson also raised the form's literary level. In the 20th century, a number of essayists, such as T.S. Eliot, tried to explain the new movements in art and culture by using essays. Virginia Woolf, Edmund Wilson, and Charles du Bos wrote literary criticism essays.

In France, several writers produced longer works with the title of essai that were not true examples of the form. However, by the mid-19th century, the Causeries du lundi, newspaper columns by the critic Sainte-Beuve, are literary essays in the original sense. Other French writers followed suit, including Théophile Gautier, Anatole France, Jules Lemaître and Émile Faguet.

Japan

As with the novel, essays existed in Japan several centuries before they developed in Europe with a genre of essays known as zuihitsu—loosely connected essays and fragmented ideas. Zuihitsu have existed since almost the beginnings of Japanese literature. Many of the most noted early works of Japanese literature are in this genre. Notable examples include The Pillow Book (c. 1000), by court lady Sei Shōnagon, and Tsurezuregusa (1330), by particularly renowned Japanese Buddhist monk Yoshida Kenkō. Kenkō described his short writings similarly to Montaigne, referring to them as "nonsensical thoughts" written in "idle hours". Another noteworthy difference from Europe is that women have traditionally written in Japan, though the more formal, Chinese-influenced writings of male writers were more prized at the time.

China

The eight-legged essay (Chinese: 八股文; pinyin: bāgǔwén; lit. 'eight bone text') was a style of essay in imperial examinations during the Ming and Qing dynasties in China. The eight-legged essay was needed for those test takers in these civil service tests to show their merits for government service, often focusing on Confucian thought and knowledge of the Four Books and Five Classics, in relation to governmental ideals. Test takers could not write in innovative or creative ways, but needed to conform to the standards of the eight-legged essay. Various skills were examined, including the ability to write coherently and to display basic logic. In certain times, the candidates were expected to spontaneously compose poetry upon a set theme, whose value was also sometimes questioned, or eliminated as part of the test material. This was a major argument in favor of the eight-legged essay, arguing that it were better to eliminate creative art in favor of prosaic literacy. In the history of Chinese literature, the eight-legged essay is often said to have caused China's "cultural stagnation and economic backwardness" in the 19th century.

Forms and styles

This section describes the different forms and styles of essay writing. These are used by an array of authors, including university students and professional essayists.

Cause and effect

The defining features of a "cause and effect" essay are causal chains that connect from a cause to an effect, careful language, and chronological or emphatic order. A writer using this rhetorical method must consider the subject, determine the purpose, consider the audience, think critically about different causes or consequences, consider a thesis statement, arrange the parts, consider the language, and decide on a conclusion.

Classification and division

Classification is the categorization of objects into a larger whole while division is the breaking of a larger whole into smaller parts.

Compare and contrast

Compare and contrast essays are characterized by a basis for comparison, points of comparison, and analogies. It is grouped by the object (chunking) or by point (sequential). The comparison highlights the similarities between two or more similar objects while contrasting highlights the differences between two or more objects. When writing a compare/contrast essay, writers need to determine their purpose, consider their audience, consider the basis and points of comparison, consider their thesis statement, arrange and develop the comparison, and reach a conclusion. Compare and contrast is arranged emphatically.

Expository

An expository essay is used to inform, describe or explain a topic, using important facts to teach the reader about a topic. Mostly written in third-person, using "it", "he", "she", "they," the expository essay uses formal language to discuss someone or something. Examples of expository essays are: a medical or biological condition, social or technological process, life or character of a famous person. The writing of an expository essay often consists of the following steps: organizing thoughts (brainstorming), researching a topic, developing a thesis statement, writing the introduction, writing the body of essay, and writing the conclusion. Expository essays are often assigned as a part of SAT and other standardized testing or as homework for high school and college students.

Descriptive

Descriptive writing is characterized by sensory details, which appeal to the physical senses, and details that appeal to a reader's emotional, physical, or intellectual sensibilities. Determining the purpose, considering the audience, creating a dominant impression, using descriptive language, and organizing the description are the rhetorical choices to consider when using a description. A description is usually arranged spatially but can also be chronological or emphatic. The focus of a description is the scene. Description uses tools such as denotative language, connotative language, figurative language, metaphor, and simile to arrive at a dominant impression. One university essay guide states that "descriptive writing says what happened or what another author has discussed; it provides an account of the topic". Lyric essays are an important form of descriptive essays.

Dialectic

In the dialectic form of the essay, which is commonly used in philosophy, the writer makes a thesis and argument, then objects to their own argument (with a counterargument), but then counters the counterargument with a final and novel argument. This form benefits from presenting a broader perspective while countering a possible flaw that some may present. This type is sometimes called an ethics paper.

Exemplification

An exemplification essay is characterized by a generalization and relevant, representative, and believable examples including anecdotes. Writers need to consider their subject, determine their purpose, consider their audience, decide on specific examples, and arrange all the parts together when writing an exemplification essay.

Malthus' Essay on the Principle of Population

Familiar

An essayist writes a familiar essay if speaking to a single reader, writing about both themselves, and about particular subjects. Anne Fadiman notes that "the genre's heyday was the early nineteenth century," and that its greatest exponent was Charles Lamb. She also suggests that while critical essays have more brain than the heart, and personal essays have more heart than brain, familiar essays have equal measures of both.

History (thesis)

A history essay sometimes referred to as a thesis essay describes an argument or claim about one or more historical events and supports that claim with evidence, arguments, and references. The text makes it clear to the reader why the argument or claim is as such.

Narrative

A narrative uses tools such as flashbacks, flash-forwards, and transitions that often build to a climax. The focus of a narrative is the plot. When creating a narrative, authors must determine their purpose, consider their audience, establish their point of view, use dialogue, and organize the narrative. A narrative is usually arranged chronologically.

Argumentative

An argumentative essay is a critical piece of writing, aimed at presenting objective analysis of the subject matter, narrowed down to a single topic. The main idea of all the criticism is to provide an opinion either of positive or negative implication. As such, a critical essay requires research and analysis, strong internal logic and sharp structure. Its structure normally builds around introduction with a topic's relevance and a thesis statement, body paragraphs with arguments linking back to the main thesis, and conclusion. In addition, an argumentative essay may include a refutation section where conflicting ideas are acknowledged, described, and criticized. Each argument of an argumentative essay should be supported with sufficient evidence, relevant to the point.

Process

A process essay is used for an explanation of making or breaking something. Often, it is written in chronological order or numerical order to show step-by-step processes. It has all the qualities of a technical document with the only difference is that it is often written in descriptive mood, while a technical document is mostly in imperative mood.

Economic

An economic essay can start with a thesis, or it can start with a theme. It can take a narrative course and a descriptive course. It can even become an argumentative essay if the author feels the need. After the introduction, the author has to do his/her best to expose the economic matter at hand, to analyze it, evaluate it, and draw a conclusion. If the essay takes more of a narrative form then the author has to expose each aspect of the economic puzzle in a way that makes it clear and understandable for the reader

Reflective

A reflective essay is an analytical piece of writing in which the writer describes a real or imaginary scene, event, interaction, passing thought, memory, or form—adding a personal reflection on the meaning of the topic in the author's life. Thus, the focus is not merely descriptive. The writer doesn't just describe the situation, but revisits the scene with more detail and emotion to examine what went well, or reveal a need for additional learning—and may relate what transpired to the rest of the author's life.

Other logical structures

The logical progression and organizational structure of an essay can take many forms. Understanding how the movement of thought is managed through an essay has a profound impact on its overall cogency and ability to impress. A number of alternative logical structures for essays have been visualized as diagrams, making them easy to implement or adapt in the construction of an argument.

Academic

University students, like these students doing research at a university library, are often assigned essays as a way to get them to analyze what they have read.

In countries like the United States and the United Kingdom, essays have become a major part of a formal education in the form of free response questions. Secondary students in these countries are taught structured essay formats to improve their writing skills, and essays are often used by universities in these countries in selecting applicants (see admissions essay). In both secondary and tertiary education, essays are used to judge the mastery and comprehension of the material. Students are asked to explain, comment on, or assess a topic of study in the form of an essay. In some courses, university students must complete one or more essays over several weeks or months. In addition, in fields such as the humanities and social sciences, mid-term and end of term examinations often require students to write a short essay in two or three hours.

In these countries, so-called academic essays, also called papers, are usually more formal than literary ones. They may still allow the presentation of the writer's own views, but this is done in a logical and factual manner, with the use of the first person often discouraged. Longer academic essays (often with a word limit of between 2,000 and 5,000 words) are often more discursive. They sometimes begin with a short summary analysis of what has previously been written on a topic, which is often called a literature review.

Longer essays may also contain an introductory page that defines words and phrases of the essay's topic. Most academic institutions require that all substantial facts, quotations, and other supporting material in an essay be referenced in a bibliography or works cited page at the end of the text. This scholarly convention helps others (whether teachers or fellow scholars) to understand the basis of facts and quotations the author uses to support the essay's argument. The bibliography also helps readers evaluate to what extent the argument is supported by evidence and to evaluate the quality of that evidence. The academic essay tests the student's ability to present their thoughts in an organized way and is designed to test their intellectual capabilities.

One of the challenges facing universities is that in some cases, students may submit essays purchased from an essay mill (or "paper mill") as their own work. An "essay mill" is a ghostwriting service that sells pre-written essays to university and college students. Since plagiarism is a form of academic dishonesty or academic fraud, universities and colleges may investigate papers they suspect are from an essay mill by using plagiarism detection software, which compares essays against a database of known mill essays and by orally testing students on the contents of their papers.

Magazine or newspaper

Essays often appear in magazines, especially magazines with an intellectual bent, such as The Atlantic and Harpers. Magazine and newspaper essays use many of the essay types described in the section on forms and styles (e.g., descriptive essays, narrative essays, etc.). Some newspapers also print essays in the op-ed section.

An 1895 cover of Harpers, a US magazine that prints a number of essays per issue

Employment

Employment essays detailing experience in a certain occupational field are required when applying for some jobs, especially government jobs in the United States. Essays known as Knowledge Skills and Executive Core Qualifications are required when applying to certain US federal government positions.

A KSA, or "Knowledge, Skills, and Abilities", is a series of narrative statements that are required when applying to Federal government job openings in the United States. KSAs are used along with resumes to determine who the best applicants are when several candidates qualify for a job. The knowledge, skills, and abilities necessary for the successful performance of a position are contained on each job vacancy announcement. KSAs are brief and focused essays about one's career and educational background that presumably qualify one to perform the duties of the position being applied for.

An Executive Core Qualification, or ECQ, is a narrative statement that is required when applying to Senior Executive Service positions within the US Federal government. Like the KSAs, ECQs are used along with resumes to determine who the best applicants are when several candidates qualify for a job. The Office of Personnel Management has established five executive core qualifications that all applicants seeking to enter the Senior Executive Service must demonstrate.

Non-literary types

Film

A film essay (also essay film or cinematic essay) consists of the evolution of a theme or an idea rather than a plot per se, or the film literally being a cinematic accompaniment to a narrator reading an essay. From another perspective, an essay film could be defined as a documentary film visual basis combined with a form of commentary that contains elements of self-portrait (rather than autobiography), where the signature (rather than the life story) of the filmmaker is apparent. The cinematic essay often blends documentary, fiction, and experimental film making using tones and editing styles.

The genre is not well-defined but might include propaganda works of early Soviet filmmakers like Dziga Vertov, present-day filmmakers including Chris Marker, Michael Moore (Roger & Me, Bowling for Columbine and Fahrenheit 9/11), Errol Morris (The Thin Blue Line), Morgan Spurlock (Supersize Me) and Agnès Varda. Jean-Luc Godard describes his recent work as "film-essays". Two filmmakers whose work was the antecedent to the cinematic essay include Georges Méliès and Bertolt Brecht. Méliès made a short film (The Coronation of Edward VII (1902)) about the 1902 coronation of King Edward VII, which mixes actual footage with shots of a recreation of the event. Brecht was a playwright who experimented with film and incorporated film projections into some of his plays. Orson Welles made an essay film in his own pioneering style, released in 1974, called F for Fake, which dealt specifically with art forger Elmyr de Hory and with the themes of deception, "fakery", and authenticity in general.

David Winks Gray's article "The essay film in action" states that the "essay film became an identifiable form of filmmaking in the 1950s and '60s". He states that since that time, essay films have tended to be "on the margins" of the filmmaking the world. Essay films have a "peculiar searching, questioning tone ... between documentary and fiction" but without "fitting comfortably" into either genre. Gray notes that just like written essays, essay films "tend to marry the personal voice of a guiding narrator (often the director) with a wide swath of other voices". The University of Wisconsin Cinematheque website echoes some of Gray's comments; it calls a film essay an "intimate and allusive" genre that "catches filmmakers in a pensive mood, ruminating on the margins between fiction and documentary" in a manner that is "refreshingly inventive, playful, and idiosyncratic".

Video

Video essays are an emerging media type similar to film essays. Video essays have gained significant prominence on YouTube, as YouTube's policies on free uploads of arbitrary lengths have made it a hotbed. Some video essays feature long, documentary style writing and editing, going deep into the research and history of a particular topic. Others are more akin to an argumentative essay in which a single argument is developed and supported throughout the video. Video essay styles have become especially prominent among BreadTube creators such as ContraPoints and PhilosophyTube

Music

In the realm of music, composer Samuel Barber wrote a set of "Essays for Orchestra", relying on the form and content of the music to guide the listener's ear, rather than any extra-musical plot or story.

Photography

"After School Play Interrupted by the Catch and Release of a Stingray" is a simple time-sequence photo essay.

A photographic essay strives to cover a topic with a linked series of photographs. Photo essays range from purely photographic works to photographs with captions or small notes to full-text essays with a few or many accompanying photographs. Photo essays can be sequential in nature, intended to be viewed in a particular order—or they may consist of non-ordered photographs viewed all at once or in an order that the viewer chooses. All photo essays are collections of photographs, but not all collections of photographs are photo essays. Photo essays often address a certain issue or attempt to capture the character of places and events.

Visual arts

In the visual arts, an essay is a preliminary drawing or sketch that forms a basis for a final painting or sculpture, made as a test of the work's composition (this meaning of the term, like several of those following, comes from the word essay's meaning of "attempt" or "trial").

Industrial Society and Its Future

Kaczynski's typescript sent to The Washington Post
Print edition cover

Industrial Society and Its Future, also known as the Unabomber Manifesto, is a 1995 anti-technology essay by Ted Kaczynski, the "Unabomber". The manifesto contends that the Industrial Revolution began a harmful process of natural destruction brought about by technology, while forcing humans to adapt to machinery, creating a sociopolitical order that suppresses human freedom and potential.

The 35,000-word manifesto formed the ideological foundation of Kaczynski's 1978–1995 mail bomb campaign, designed to protect wilderness by hastening the collapse of industrial society. The manifesto states that the public largely accepts individual technological advancements as purely positive without accounting for their overall effect, including the erosion of local and individual freedom and autonomy.

It was printed in a supplement to The Washington Post after Kaczynski offered to end his bombing campaign in exchange for his manifesto to be widely circulated.[1] Attorney General Janet Reno authorized the printing to help the FBI identify the author. The printings and publicity around them eclipsed the bombings in notoriety, and led to Kaczynski's identification by his brother, David Kaczynski.

Impact

While Kaczynski's actions were generally condemned, his manifesto expressed ideas that continue to be generally shared among the American public.[2] A 2017 Rolling Stone article stated that Kaczynski was an early adopter of the concept that:

"We give up a piece of ourselves whenever we adjust to conform to society's standards. That, and we're too plugged in. We're letting technology take over our lives, willingly."[3]

The Labadie Collection of the University of Michigan houses a copy of Industrial Society and its Future. The essay has been translated into French, remains on college reading lists, and was updated in Kaczynski's 2008 book, Technological Slavery, Volume One, which defends his political philosophy in greater depth.

Background and publication

Rough black-and-white sketch of a man's face obscured by a hooded sweatshirt and sunglasses
A 1987 suspect sketch of the Unabomber following the Salt Lake City bombing that injured Gary Wright; the sketch was superseded by a more iconic sketch by Jeanne Boylan in 1994, but it was the first to show him in his infamous hooded sweatshirt and sunglasses.

Between 1978 and 1995, Ted Kaczynski engaged in a mail bomb campaign[4] against people involved with modern technology.[5] His initial targets were universities and airlines, which the FBI shortened as UNABOM. In June 1995, Kaczynski offered to end his campaign if one of several publications (the Washington Post, New York Times, or Penthouse) would publish his critique of technology, titled Industrial Society and Its Future, which became widely known as the "Unabomber Manifesto".[6]

Kaczynski believed that his violence, as direct action when words were insufficient, would draw others to pay attention to his critique.[7] He wanted his ideas to be taken seriously.[8] The media debated the ethics of publishing the manifesto under duress.[9][6] The United States Attorney General Janet Reno advocated for the essay to be shared so that a reader could potentially recognize its author.[6]

During that summer, the FBI worked with literature scholars to compare the Unabomber's oeuvre against the works of Joseph Conrad, including The Secret Agent, based on their shared themes.[10][11]

The Washington Post published the manifesto in full within a supplement on September 19, 1995, splitting the cost with The New York Times. According to a statement, the Post had the "mechanical ability to distribute a separate section in all copies of its daily newspaper."[12][13] A Berkeley-based chess book publisher began publishing copies in paperback the next month, without Kaczynski's consent.[14]

Kaczynski wrote an essay in 1971 which contained many themes and ideas that would eventually appear in the manifesto, indicating that his particular line of anti-technological thought dated back relatively early in his life prior to his arrest.[15] The original, handwritten manifesto sold for $20,053 in a 2011 auction of Kaczynski's assets, along with typewritten editions and their typewriters, to raise restitution for his victims.[16][17]

Contents

Handwritten draft of the manifesto

At 35,000 words, Industrial Society and Its Future lays very detailed blame on technology in and of itself for eroding individual freedom and autonomy, destroying human-scale communities, and leading to widespread psychological and physical suffering.[6] Kaczynski contends that the Industrial Revolution harmed the human race by developing into a sociopolitical order that subjugates human needs beneath its own. This system, he wrote, destroys nature and suppresses individual freedom. In short, humans adapt to machines rather than vice versa, resulting in a society hostile to human potential, freedom, and dignity.[8]

Kaczynski indicts technological progress for its destruction of small human communities and the rise of inhospitable cities. He contends that this relentless technological progress will not dissipate on its own, because individual technological advancements are seen as good despite the sum effects of this progress, and technological growth is beyond rational human control (i.e., autonomous). Kaczynski describes modern technological society as totalitarian force—an order in which individuals are "adjusted" to fit the requirements of the system and those outside the system are seen as pathological or "bad".[8]

This tendency, he says, gives rise to expansive police powers, mind-numbing mass media, and indiscriminate promotion of drugs, designed to conform to the needs of the technological environment.[8] He criticizes both big government and big business as the inevitable result of industrialization,[6] and holds scientists and "technophiles" responsible for recklessly pursuing power through technological advancements.[8]

He argues that this industrialized system's collapse will be devastating in the short-term, although quickening the collapse—before technology progresses further—will prevent unmitigated catastrophe for humanity and the biosphere in the future. He justifies the trade-offs that come with losing industrial society as being worth the cost.[8] Kaczynski's ideal revolution seeks not to overthrow governments if unnecessary, but rather, the economic and technological foundation of modern society.[18] He seeks to destroy existing society and protect the wilderness, the antithesis of technology.[8]

Influences

Industrial Society and Its Future echoes contemporary critics of technology and industrialization such as John Zerzan, Jacques Ellul,[19] Rachel Carson, Lewis Mumford, and E. F. Schumacher.[20] Its idea of the "disruption of the power process" similarly echoed social critics who emphasize that the lack of meaningful work is a primary cause of social problems, including Mumford, Paul Goodman, and Eric Hoffer.[20] Aldous Huxley addressed its general theme in Brave New World, to which Kaczynski refers in his text. Kaczynski's ideas of "oversocialization" and "surrogate activities" recall Sigmund Freud's Civilization and Its Discontents and its theories of rationalization and sublimation (a term which Kaczynski uses three times to describe "surrogate activities").[21]

However, a 2021 study by Sean Fleming shows that many of these similarities are coincidental.[22] Kaczynski had not read Lewis Mumford, Paul Goodman, or John Zerzan until after he submitted Industrial Society and Its Future to The New York Times and The Washington Post. There is no evidence that he read Freud, Carson, or Schumacher. Instead, Fleming argues, Industrial Society and Its Future "is a synthesis of ideas from [...] French philosopher Jacques Ellul, British zoologist Desmond Morris, and American psychologist Martin Seligman."[22]

Kaczynski's understanding of technology, his idea of maladaptation, and his critique of leftism are partly derived from Ellul's 1954 book, The Technological Society. Kaczynski's concept of "surrogate activities" echoes Desmond Morris's concept of "survival-substitute activities", while his concept of "the power process" combines Morris's concept of "the Stimulus Struggle" with Seligman's concept of learned helplessness. Fleming's study relies on archival material from the Labadie Collection at the University of Michigan, including a "secret" set of footnotes that Kaczynski did not include in the Washington Post version of Industrial Society and Its Future.[22]

The scholar George Michael of Vanderbilt University Press accused Kaczynski of "collecting philosophical and environmental clichés to reinforce common American concerns".[6]

Aftermath

Kaczynski three years before he began to draft an essay of the ideas that would become the manifesto (UC Berkeley, 1968)

Kaczynski had intended for his mail bombing campaign to raise awareness for the message in Industrial Society and Its Future, which he wanted to be seriously regarded.[8]

With its initial publication in 1995, the manifesto was received as intellectually deep and sane.[8] Writers described the manifesto's sentiment as familiar. To Kirkpatrick Sale, the Unabomber was "a rational man" with reasonable beliefs about technology. He recommended the manifesto's opening sentence for the forefront of American politics. Cynthia Ozick likened the work to an American Raskolnikov (of Dostoevsky's Crime and Punishment), as a "philosophical criminal of exceptional intelligence and humanitarian purpose ... driven to commit murder out of an uncompromising idealism".[8] Numerous websites engaging with the manifesto's message appeared online.[8]

Kaczynski's effort to publish his manifesto brought him into the American news more than the bombings themselves.[23] The manifesto was widely spread via newspapers, book reprints, and the Internet. Ultimately, the ideas in the manifesto were eclipsed by reaction to the violence of the bombings, and did not spark the serious public consideration he was looking for.[23][24]

Linda Patrik, the wife of Ted's brother David Kaczynski, suspected Ted had written the manifesto because she recognized his linguistic mannerisms, and she told her husband about her suspicions. At first, he disbelieved that his own brother could be the author of the manifesto, but upon comparing the previous letters that they shared, he found evidence: one of Ted's mannerisms was found in one of the letters that they exchanged, just as it was written in the manifesto. Upon this discovery, David notified the FBI.[8]

Effect of the trial

Kaczynski's mugshot (1996)

After Ted Kaczynski's April 1996 arrest, he wanted to use the trial to disseminate his views,[6] but the judge denied him permission to represent himself. Instead, his court-appointed lawyers planned an insanity defense that would discredit Industrial Society and Its Future against his will. The prosecution's psychiatrists counter-cited the manifesto as evidence of the Unabomber's lucidity, and Kaczynski's sanity was tried in court and in the media. Kaczynski responded by taking a plea bargain for life imprisonment without parole in May 1998.

Kaczynski's biographer argued that the public should look beyond this "genius-or-madman debate", and view the manifesto as reflecting normal, common, unexceptional ideas shared by Americans, sharing their distrust over the direction of civilization. While most Americans abhorred his violence, adherents to his anti-technology message have celebrated his call to question technology and preserve wilderness.[8] From his Colorado maximum security prison,[8] he continued to clarify his philosophy with other writers through correspondence, and by composing two books which were published during his incarceration, until his death in 2023.[6]

Legacy

Part of Kaczynski's manifesto was cited by the inventor and author Raymond Kurzweil in his book The Age of Spiritual Machines, and then mentioned in the article "Why the Future Doesn't Need Us" by computer scientist Bill Joy.

As of 2000, Industrial Society and Its Future remained on college reading lists and the green anarchist and eco-extremist movements came to hold Kaczynski's writing in high regard, with the manifesto finding a niche audience among critics of technology, such as the speculative science fiction and anarcho-primitivist communities.[25][8][26] It has since been translated into many other languages, including French by Jean-Marie Apostolidès.[27]

Since 2000, the Labadie Collection houses a copy of the manifesto, along with Ted Kaczynski's other writings, letters and papers, after he officially designated the University of Michigan to receive them. They have since become one of the most popular archives in their special collections.[28]

In 2017, an article in Rolling Stone stated that Kaczynski was an early adopter of the idea that:

"We give up a piece of ourselves whenever we adjust to conform to society's standards. That, and we're too plugged in. We're letting technology take over our lives, willingly."[3]

In 2018, New York magazine stated that the manifesto generated later interest from neoconservatives, environmentalists, and anarcho-primitivists.[29]

In 2019, Norwegian philosopher Ole Martin Moen criticized Kaczynski's manifesto:[30]

In assessing the effects of technology on human life, Kaczynski considers only the negative effects. This makes him leave out from his inquiry a number of very important facts, such as the fact that prior to the industrial revolution, all countries in the world had a living standard comparable to today's standard in Africa south of the Sahara, and that since the late 18th century, the global average life expectancy at birth has more than doubled. It is hard to deny that these are real improvements and that they were made possible by technologies, perhaps most centrally artificial fertilizers, agricultural machinery, water chlorination, sewer systems, antibiotics, and vaccines. It is also hard to deny that a wide range of other technologies—reading glasses, painkillers, printing presses, light bulbs, pianos, music recordings, trains—have enriched the lives of billions.

— Ole Martin Moen

In December 2020, a man who was arrested at Charleston International Airport on a charge of "conveying false information regarding attempted use of a destructive device" after he falsely threatened that he had a bomb, was found to have been carrying the Unabomber manifesto.[31][32]

Reprints and further work

Feral House republished the manifesto in Kaczynski's first book, the 2010 Technological Slavery, alongside correspondence and an interview.[33][34] Kaczynski was unsatisfied with the book and his lack of control in its publication.[35] Kaczynski's 2019 book Technological Slavery, Volume One. Revised and Expanded Edition updates his 1995 manifesto with more relevant references and defends his political philosophy in greater depth. In February, 2021, Kaczynski wrote a new preface to his original 1995 manifesto.

Instrumental and intrinsic value

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Instrumental_and_intrinsic_value ...