A philosophical discussion about sports betting and gambling, based on my e-book Sports Betting Pure: The Educated Bet, which is now published here for free download.
The Dolphins score a touchdown and Homer celebrates (spilling his Duff beer in the process) while Lisa copies his cheering. Homer lets it slip that he bet $50 on the game, but Lisa doesn’t understand why. Homer: [Gambling is] a little thing daddies do… to make football more exciting. Lisa: What could be more exciting than the savage ballet that is pro football? Homer: You like ice cream, don’t you? Lisa: Uh huh. Homer: And don’t you like ice cream better when it’s covered with hot fudge? And mounds of whipped cream? (getting carried away) And chopped nuts? And, ooh, those crumbled-up cookie things they mash up? Mmm, crumbled-up cookie things. Lisa: So gambling makes a good thing even better?
The Simpsons, ‘Lisa the Greek’
Sports and Gambling: An Inevitable Match
The lures of both sports and gambling are apparent and ancient: throughout history, sports has served multiple functions considered essential to society; while gambling has had rising and falling prominence in societies of every place and age*. Given the excitement and the stakes common to both, it’s inevitable that the combination of sports and gambling would appear to many as a perfect match (as Homer explains simplistically), particularly during an age in which both are prominent.
An uncut, feature-length discussion about the movie medium; packed with bonus content––and LOTS of movies.
Part 1 Embedded-Archetype Recycling
More so than any other medium, the motion picture – also known as film, cinema, and most commonly, movies – has the capacity to convey ideas and themes whilst bypassing the viewer’s awareness of having done so; meaning that even the reception of the content generally remains unperceived, i.e. let alone its affect and techniques thereof. This principle can be observed by the substratum of archetypal themes from which movie* narratives are constructed upon; by the industrial recycling of these archetypes, evident in movies that are differentiated by time and genre; and by the common obliviousness to embedded elements and the pervasiveness of this practice.
*Although most of this article concerns movies, the discussion generally applies to television fiction too, particularly since it has become more cinematic in recent years. Movie narratives, however, are the primary form of embedded-archetype recycling.
I have termed the principle behind this practice ‘embedded-archetype recycling’, where “archetype” refers to a type of character or theme that is ancient, or at least pre-modern (hence being adapted into modern form); where “embedded” refers to the concealment of the archetypes within the overt narrative; and where “recycling” refers to the institutional practice of reapplying these archetypes to the narratives of “new” movies (hence, archetypes pervade the medium irrespective of era divergences and genre differences between movies).
Over the last century, general discourse concerning the topic of ‘free will’ has become increasingly more pronounced in Western culture—a trend that reflects the rapid development of societal complexity during this period: for especially since the postmodern era, the organisational phenomena of bureaucracy, specialisation, and compartmentalisation have intensified the diffusion not only of responsibility but also of knowledge. Concomitantly, scientific theory has supplanted philosophy as the locus of epistemology, producing theoretical phenomena such as relativity and quantum mechanics and instilling them into the foundation of Western ideology. Effectively, such theories have undermined not just traditional knowledge and wisdom but the very basis for their acquisition, i.e. the subjective perception of an objective reality. In concert, postmodern developments have thus created a culture of disintegrating knowledge and implicit indeterminacy, wherein matters both philosophical and practical are deemed – tacitly more so than explicitly – to be fundamentally uncertain. Crucially, this ideological domination includes the dimension of institutional contradiction; as in, for example, the periodical turnover of scientific axioms, many of which are treated as dogma until they have been deemed falsified and replaced by new axiomatic ‘truths’. Within this culture of impenetrable systemisation and philosophical confusion, the question of free will has arisen to prominence: For at least the last half-century, Western culture has been affirming an inherent inability to determine anything at all, let alone an ideology that is clear, consistent, and stable. Adversely, it has instilled a societal paradigm of reactionary measures against the flux of indeterminable existence, which thus represents the postmodern ideology of Western culture—an ideological inversion of Ideology.
An essay on Understanding (or, understanding for an Understanding of UNDERSTANDING)
For the proper philosophical discussion about any particular thing, the identification of the thing itself is more important than the word used to refer to it: A word is merely a tool used to approximate the meaning of a concept, thus enabling an expedient means to refer to that concept in conversation or writing. In a way, this conventional approximation of conceptual meaning highlights the purpose of Philosophy, which I define here as the unmotivated, uncompromised expression of the innate need to Understand. And, Understanding is perhaps the most important concept to philosophise about—which I define here as the pure and thorough attempt to clarify the essence and significance of a thing. Thus for this essay, a cluster of related ‘things’ I consider worthy of discussion are most closely approximated by the word ‘understanding’, with each of these things representing a particular aspect of that concept, thereby being a different sense of its meaning. Hence, I will use the word ‘understanding’ in multiple senses, supported by my definition of each one; and by which I attempt to describe these particular aspects of Mind and Life.
This article features an introduction to the concept of ‘Allegory’; followed by a preface to four important ones (two parables, a fable, and a fairy tale), leading to commentary on each one, along with references to films and related media; and concluding with a list of the relevant links.
Allegory is a technique used by authors to embed a deeper meaning into the surface of a story, which produces two main effects. The primary effect is that it conceals the very fact that it contains an inner meaning at all, from all but those whose mind is critical in observing fictional works; and this makes it an esoteric mode of communication.
This article features a brief introduction to the concept of Prolepsis, along with an expert definition; followed by a succession of examples from film, TV, and literature; then a film & soundtrack set related to a connecting theme; and concluding with a list of the relevant links.
Prolepsis is a highly significant device used in literature and rhetoric, as it achieves quite a profound effect on the attitude of the target audience. The essence of prolepsis is to anticipate and effectively neutralize an opponent’s argument (in the mind of the audience), or a listener’s objection (the audience directly).