I need to make friends with some fellow-nerds whose heads combust when they read stuff like this:

Religion corrects for our farsightedness. It addresses the invisibility of objects that are commonly too familiar, too available, too immanent to be seen. To this end, it intentionally cultivates nearsightedness. Religion practices myopia in order to bring both work and suffering into focus as grace. Redemption turns on this revelation.

The principle of irreduction guarantees resistant availability and bans any slick metaphysics. Absent the singular transcendence of a traditional God, grace isn’t dissolved but distributed. An object-oriented grace is fomented by a restless multitude of cross-fertilizing transcendences, resistances, and availabilities. Here, grace is the double-bind of resistant availability that both gives objects to themselves and gives them away to others. Or, better, grace is what gives objects to themselves by giving them away to others. There is no grace if the resistant is not also available and there is no grace if the available is not also resistant. Double-bound, grace has two faces. On the one hand, grace presents as the ceaseless work required by the multitude’s resistance. On the other hand, grace presents as the unavoidable suffering imposed by our passibility. Work is grace seen from the perspective of resistance. Suffering is grace seen from the perspective of availability. Hell is when the grace of either slips from view. Work and suffering are the two faces of grace.

On this account, sin is a refusal of grace. It is a refusal of this double-bind. It is a desire to go away, to be done once and for all with the necessity of negotiation, to be finally free from the imposing demands of others. Sin denies both the graciousness of resistance and the graciousness of availability. It can see neither work nor suffering as the gifts that jointly constitute the object that it is. Sin does not want to be dependent on a grace it cannot control and it does not want to be impinged on by a grace it did not request. Sin wants the given to be something other than given.

The business of religion is “to disappoint, first, to disappoint” (Latour, “Thou Shalt Not Freeze-Frame”). Religion aims to intentionally, relentlessly, and systematically disappoint this desire to go away by bringing our attention back to the most obvious features of the most ordinary objects. Its work is to bring us up short by revealing our desire to be done with the double-bind of grace. To disappoint this drive, “to divert it, break it, subvert it, to render it impossible, is just what religious talk is after” (Latour, “Thou Shalt Not Freeze-Frame”). Habitually, we smooth over the rough edges, downplay the incompatible lines, and fantasize that the relative availability of a black box depends on something other than the unruly mobs packed-away inside. Sin is the dream of an empty black box, of a black box that is absolute rather than relative, permanent rather than provisional. Sin repurposes the obscurity imposed by a black box for the sake of obscuring grace. In this way, sin is as natural as the habits upon which substances rely. But in religious practices, “incredible pain has been taken to break the habitual gaze of the viewer” (Latour, “Thou Shalt Not Freeze-Frame”). Great effort is expended to show work and suffering as something other than regrettable. “Religion, in this tradition, does everything to constantly redirect attention by systematically breaking the will to go away, to ignore, to be indifferent, blasé, bored” (Latour, “Thou Shalt Not Freeze-Frame”).

Mark this definition: religion is what breaks our will to go away.

The trick, as Latour puts it, is “to paint the disappointment of the visible without simply painting another world of the invisible” (Latour, “Thou Shalt Not Freeze-Frame”). Something obscure does need to be revealed, but the obscurity in question is not the kind proper to what is distant, resistant, or transcendent. Rather, religion aims for a revelation of the obvious as otherwise than we’d assumed. In religion, “what is hidden is not a message beneath the first one, an esoteric message, but a tone, an injunction for you, the viewer, to redirect your attention and to turn it away from the dead and back to the living” (Latour, “Thou Shalt Not Freeze-Frame”). Life and redemption depend on this revelation of a novel tone.

(This passage is from Adam Miller’s Speculative Grace. Highly recommended, if you are one of those rare freaks who actually digs theology.)

From the introduction to Latour’s Irreductions:

…We should not decide apriori what the state of forces will be beforehand or what will count as a force. If the word “force” appears too mechanical or too bellicose, then we can talk of weakness. It is because we ignore what will resist and what will not resist that we have to touch and crumble, grope, caress, and bend, without knowing when what we touch will yield, strengthen, weaken, or uncoil like a spring. But since we all play with different fields of force and weakness, we do not know the state of force, and this ignorance may be the only thing we have in common.

One person, for instance, likes to play with wounds. He excels in following lacerations to the point where they resist and uses catgut under the microscope with all the skill at his command to sew the edges together. Another person likes the ordeal of battle. He never knows beforehand if the front will weaken or give way. He likes to reinforce it at a stroke by dispatching fresh troops. He likes to see his troops melt away before the guns and then see how they regroup in the shelter of a ditch to change their weakness into strength and turn the enemy column into a scattering rabble. This woman likes to study the feelings that she sees on the faces of the children whom she treats. She likes to use a word to soothe worries, a cuddle to settle fears that have gripped a mind. Sometimes the fear is so great that it overwhelms her and sets her pulse racing. She does not know whether she will get angry or hit the child. Then she says a few words that dispel the anguish and turn it into fits of laughter. This is how she gives sense to the words “resist” or “give way.” This is the material from which she learns the meaning of the word “reality.” Someone else might like to manipulate sentences: mounting words, assembling them, holding them together, watching them acquire meaning from their order or lose meaning because of a misplaced word. This is the material to which she attaches herself, and she likes nothing more than when the words start to knit themselves together so that it is no longer possible to add a word without resistance from all the others. Are words forces? Are they capable of fighting, revolting, betraying, playing, or killing? Yes indeed, like all materials, they may resist or give way. It is materials that divide us, not what we do with them. If you tell me what you feel when you wrestle with them, I will recognize you as an alter ego even if your interests are totally foreign to me.

One person, for example, likes white sauce in the way that the other loves sentences. He likes to watch the mixture of flour and butter changing as milk is carefully added to it. A satisfyingly smooth paste results, which flows in strips and can be poured onto grated cheese to make a sauce. He loves the excitement of judging whether the quantities are just right, whether the time of cooking is correct, whether the gas is properly adjusted. These forces are just as slippery, risky, and important as any others. The next person does not like cooking, which he finds uninteresting. More than anything else he loves to watch the resistance and the fate of cells in Agar gels. He likes the rapid movement when he sows invisible traces with a pipette in the Petri dishes. All his emotions are invested in the future of his colonies of cells. Will they grow? Will they perish? Everything depends on dishes 35 and 12, and his whole career is attached to the few mutants able to resist the dreadful ordeal to which they have been subjected. For him this is “matter,” this is where Jacob wrestles with the Angel. Everything else is unreal, since he sees others manipulate matter that he does not feel himself. Another researcher feels happy only when he can transform a perfect machine that seems immutable to everyone else into a disorderly association of forces with which he can play around. The wing of the aircraft is always in front of the aileron, but he renegotiates the obvious and moves the wing to the back. He spends years testing the solidity of the alliances that make his dreams impossible, dissociating allies from each other, one by one, in patience or anger. Another person enjoys only the gentle fear of trying to seduce a woman, the passionate instant between losing face, being slapped, finding himself trapped, or succeeding. He may waste weeks mapping the contours of a way to attain each woman. He prefers not to know what will happen, whether he will come unstuck, climb gently, fall back in good order, or reach the temple of his wishes.

So we do not value the same materials, but we like to do the same things with them — that is, to learn the meaning of strong and weak, real and unreal, associated or dissociated. We argue constantly with one another about the relative importance of these materials, their significance and their order of precedence, but we forget that they are the same size and that nothing is more complex, multiple, real, palpable, or interesting than anything else. This materialism will cause the pretty materialisms of the past to fade. With their layers of homogeneous matter and force, those past materialisms were so pure that they became almost immaterial.

No, we do not know what forces there are, nor their balance. We do not want to reduce anything to anything else. …

This text follows one path, however bizarre the consequences and contrary to custom. What happens when nothing is reduced to anything else? What happens when we suspend our knowledge of what a force is? What happens when we do not know how their way of relating to one another is changing? What happens when we give up this burden, this passion, this indignation, this obsession, this flame, this fury, this dazzling aim, this excess, this insane desire to reduce everything?

More attempts to internalize the ANTsy moves:

Today, physicists never discuss a matter without allowing the matter to participate in the discussion.

Physicist’s experiments always ask leading questions. The questions have a clear, coaxing thrust, and the matter in question cooperates or frustrates the hopes implicit in the line of questioning.

Much of physics is hammered out through competition between conflicting leading questions. Physicists approach a matter a make conflicting propositions. They compete for the right to speak for the matter. The matter rewards the one who understands the best with a fickle faithfulness.