Essay by Greg Balzer

Robert Pirsig's "Zen and the Art of Motorcycle Maintenace"

I use Pirsig's Zen and the Art of Motorcycle Maintenance as a textbook in my Taming the Electronic Frontier course. This essay by Greg Balzer, a student in the Fall 1998 session, perfectly captured the reasons I use this as the textbook in what most think is a technical course on web publishing. This format is lifted directly from the web-based form that I use to grade student submissions. It lists questions in alphabetical order, not the order the questions were presented to the student.

Question	Response
Application to Portfolio? What insights did this book give you about the question: "Given that I know how to build anything I please, precisely what should I include, and what should I leave out, of my web-based portfolio?"	After reading Pirsig, the first thing that strikes me is I must seek to find a union between the classical and romantic views at a basic level. Thus, I must not only focus on the "technology" taught in the class, but I must also be very aware of the romantic, or artistic appeal of my portfolio. I must find a way to creativley use the technology to produce an object which has value, or Quality. To do this, I must really care about my work, or as Pirsig states on page 267, I must identify with what I'm doing, which will allow me to see the reverse side of caring, which is Quality. Further, Pirsig points out on page 247, that care and Quality are internal and external qualities of the same thing. A person who sees Quality and feels it as he works is a person who cares. A person who cares about what he sees and does is a person who's bound to have some characteristics of Quality. I must also be aware that there are several traps which can detract from the Quality of my Portfolio. These are known as Gumption Traps. But as Pirsig points out on page 257, "stuckness shouldn't be avoided. It's the physic predecessor of all real understanding. An egoless acceptance of stuckness is a key to an understanding. Thus, I must approach my work with a certain peace of mind, accepting the setbacks and hangups as a part of the process. Instead of seeing these as obstacles, I must see them as opportunities to learn and to grow. Physical, Mental and Value quietness as Pirsig points out on page 265. Thus, first I must choose a subject about which I care. Next, I must be internally quiet, and come to the technology with a certain peace of mind, and unite the romantic and classical tools which will be required to produce a portfolio which is based on Quality, which is really nothing more than a reflection of my own internal values. I must be aware of certain gumption traps I will encounter along the way, but if I am connected to the work, I will be able to assess the underlying causes, and overcome them. In the end, I must not only view my work on my portfolio as a "task" required in this course, but to view my work on my portfolio as a project of self-improvement as well. As Pirsig states on page 293, "The real cycle you're working on is a cycle called yourself. The machine that appears to be ëout there' and the person that appears to be ëin here' are ot two separate things. They go toward Quality or fall away from Quality all together." Lastly, I realize that I will never get it perfect. Just as I am a work in progress, my portfolio is also a work in progress. As I develop, so should my portfolio. It is a reflection of my inner values.
Compare and contrast three meanings of quality Compare and contrast the discussion of quality in Pirsig's book with the other meanings outlined above. Don't just repeat the discussion I provided here, but amplify on it from sources other than this page. Illustrate your comparisons with quotes from Pirsig's book.	In Pirsigís Book, ìZen and the Art of Motorcycle Maintenanceî two contrasting ways of viewing reality are discussed. The first is the classical, or purely objective mode. The second is the romantic, or the subjective mode. During this course we have been introduced to yet a third view towards reality, the intersubjective, or that which is based first upon societal norms, followed very closely by personal preferences. The classical or objective mode views reality from a purely fact based perspective. There is no room or requirement for subjective opinions, desires or likes and dislikes. According to Pirsig, the whole basis for our modern western thought is based on the classical mode, which rose out of the scientific revolution. Thus, Richard Feynmanís article on the reliability of the Shuttle is a perfect example of why the scientific method is so important when certifying Shuttle launches. He takes a close look at the differences between engineers and managers within the Shuttle program, and their widely divergent opinions on the safety of space missions. The engineers can very precisely illustrate how any one of a number of small component parts of a very technical system can fail, causing disaster. The engineers have developed very effective and efficient means of designing, building and testing each of the components. According to Feynman, in the current situation, engineers on the Shuttle estimate a failure rate at about 1 in 100, while management predicts the failure rate at close to 1 in 100,000. According to Feynman, the management of NASA exaggerates the reliability of its product to the point of fantasy. One of the reasons he sights for this may be an attempt on managementís part to assure the government of NASA perfection in order to ensure the supply of funds. He goes on to state that often, with logical arguments, the criteria are altered so that flights may still be certified in time. His conclusion is striking. ìFor successful technology, reality must take precedence over public relations, for nature cannot be fooled.î This would seem to parallel Pirsigís thoughts on the subject of the scientific method. According to Pirsig, ìThe real purpose of the scientific method is to make sure Nature hasnít misled you into thinking you know something you donít actually know.î (pg 94) ìIf you get careless or go romanticizing scientific information, giving it a flourish here and there, Nature will soon make a complete fool out of you.î (pg 94) Thus, I believe that Pirsig would agree with Feynman that engineers and not managers should be the ones who determine the safety criteria and approve the shuttle for launch. The one thing to note is that this scientific based, objective viewpoint is applied in a very precise way, to a very limited portion of the entire NASA operation. The objective mode has its place, but it is very limited. I counter this very narrowly applied use of the objective mode with the advertisement in the September 1994 issue of Graduating Engineer. It would appear as though they have taken a view that things such as profit motive and conflicts of interest are to be avoided so that they can concentrate on their very vital mission of planning, developing and operating national security space systems for the government. This is very troubling. Without some of the more romantic views, such as, ìwhat is the purpose of the system I am developing,î ìwill it be used for good or evil,î ì will it have the ability to deny people of the very rights this country established in its Constitution,î then we are faced with run-away science, or science without morale constraints. To quote from Natalie Angierís review of the book, The End of Science, ìThe high-pitched and nearly hysterical cackles that escape from the mouths of more than one of his sources after they have scolded him for his ìpessimismî bring to mind the image of the mad scientist who is totally out of touch with reality.î A scary thought indeed. Pirsig was very aware of such implications. In fact, he goes so far as to lay the blame for societyís ills on Western scientific thought. The purpose of scientific method is to select a single truth from among many hypothetical truths. But historically science has done exactly the opposite. It is science itself that is leading mankind from single absolute truths to multiple, indeterminate, relative ones. The major producer of the social chaosÖis science itself. (pg 101) Our current modes of rationality are not moving society forward into a better world. They are taking it further and further from that better world. The whole structure of reason handed down to us from ancient times, is no longer adequate. It begins to be seen for what it really is ñ emotionally hollow, esthetically meaningless and spiritually empty. (pg 102) Whatís wrong with technology is that itís not connected in any real way with matters of the spirit and of the heart. (pg 149) Thus, Pirsig rejects the objective mode as the single answer to his question, ìWhat is Quality?î The second view of reality is via the romantic, or the subjective mode. In this view of reality, feelings rather than facts predominate. Pirsig gives a perfect illustration of this view. On page 47 he relates a story about trying to shim Johnís loose handlebars. Pirsig comes up with the perfect solution from an objective standpoint, but John doesnít see things that way. Pirsig goes on to point out that John doesnít really think about things in an objective way at all, but takes most things like his hobby, drumming. He just does it. Is with it. But when the real world crashes in and botches things up for him, it crashes his view of the world. So he puts a blanket on that whole nuts-and-bolts scene. He will not or cannot believe there is anything in this world for which grooving is not the way to go. In other words, John totally rejects the practical side of the objective mode, and ìgoes with the flow.î This ìGo with the Flowî mentality seems benign on the surface, but in reality, it can have very serious consequences. Take for example, the article by Crawford Kilian, ìNazis on the Net.î Most people would agree that the views expressed by the Ultras are wrongheaded. Some believe this so strongly that they would limit their right to first amendment freedom of speech in that they would restrict certain types of hate rhetoric. But in the end, arenít they simply stating, ìWhat they feel.î Itís not important that their claims are not backed up with fact, theyíre not dealing on that plane, they are in a totally subjective mode. Pirsig describes these types of people as frivolous, irrational, erratic, untrustworthy. Often a parasite who cannot or will not carry his own weight. A real drag on society. (pg 62) Thus, Pirsig recognizes the romantic view, but also sees its limitations. Carried to the extreme, the totally subjective mode displayed by the Ultras is just as troubling as the totally objective mode expressed by scientists totally free from profit motive and conflicts of interest. Pirsig realizes that is only when the two modes are combined, a term Pirsig defines as ìThe Wave of Crystallization,î That you begin to understand Quality. Quality is the term which unites both the objective, and subjective modes. (pg 196) The third mode which we have been introduced to is the intersubjective mode, which includes societal and cultural norms in defining Quality. Although Pirsig does not directly address this mode of thinking, he references it in his discussion of universal harmony on page 241. Pirsig relates that what guarantees the objectivity of the world in which we live is that this world is common to us with other thinking beings. Through communications that we have with other men we receive from them ready-made harmonious reasonings. Thus, it is easy to see that Pirsig understood that society, or relations with other thinking beings also impacts on our views of Quality. The intersubjective mode is also referred to on page 315 when Pirsig relates the Mythos-over-logos argument, and how the early legends of all cultures have contributed to our present world understanding. In fact, Pirsig places such importance on the cultural setting that on page 316 he states that ìto go outside the mythos is to become insane.î Thus, oneís view of the world is tightly held within the bonds of that culture, and to go outside of the norms would cause one to not only lose touch with the basic roots of his perspective on reality, but also make one appear as insane to others operating within that culture. To illustrate this point, George Lakoff shows how other cultures around the world categorize things in ways that both boggle the Western mind, and stump Western linguists and anthropologists. In other words, it is the cultural setting that gives meaning to the way we classify, and describe the world around us. Having traveled around the world, and being totally immersed for years on end in foreign cultures, this frame of reference discussion is not an esoteric academic one to me. I have spent many years on independent assignment to several Islamic countries. Two central cultural themes which seem hardest for Westerners to overcome are a predestined fatalistic approach to life, and the concept of time. If God wills it, it will happen, and no matter how hard I might try, Godís will prevails, so I will not attempt to change the future, but will accept it as His will. Since all that happens is Godís will, things tend to happen of their own accord, so if you say you need something tomorrow and I agree, but it does not happen at just the exact time you specified, it is O.K. because it has happened as God has willed it. On the surface this causes much frustration for most Westerners, but if you begin to understand their society, then you begin to understand how things operate, and instead of fighting against their culture, you learn how to operate and function within it. I cannot say that I ever really ìunderstoodî their culture, but I could at least begin to appreciate how it would impact on my operations, and I could begin to see the vulnerabilities in my plan, and be willing to work out an alternate course of action if required. Thus, to my Western frame of reference, my definition of Quality can be totally different from someone elseís based on my cultural frame of reference. Thus, it is important to remeber that one mode of viewing quality is not "better" than another, but that in a given circumstance, one mode may be better suited for helping solve a problem or make a decision. As Pirsig states on page 62, persons tend to think and feel exclusively in one mode or the other and in doing so tend to misunderstand and underestimate what the other mode is all about. The key for us is to understand that other modes exist, and to be able to recognize a situation, and then to choose the most appropriate way to view it.
Illustrate the three meanings Illustrate the three meanings with examples other than food preferences.	There are many examples one might use to illustrate the three modes of quality. Architecture, automobile design, even fine wine could be used to illustrate the three views. Due to its ubiquity, I have chosen music. On a purely objective level, one could first begin with the actual composition. It depends on what type of music you are writing, but each style of music has certain rules which composers adhere to, such as a fugue or an etude. Thus, one could conceptually compose a piece of music which from a purely objective viewpoint was technically perfect, but when played was totally disliked by the listening audience. From the objective viewpoint this would neither matter, nor even be considered, since all that would matter would be the technical perfection of the piece. Peopleís opinions would be secondary. Next we could look at the orchestra, or the group that would be performing the music. From an objective viewpoint each instrument could be made to the most exacting standards, accurately tuned, and each of the instrumentalists could have an impeccable education in music, but once again, if the piece of music does not take into account anything more than the objective nature of things, the listening audience could once again not like the piece. This is because music goes beyond just the technical objective based view of things, and touches that creative, intuitive and subjective side of the listener. For music to be good, the underlying objective forms must all be in place, but the subjective artistic side must also be present for the music to be appreciated by the listener. A song must touch the listener in such a way as to create a mood, evoke a response or convey a message, purely subjective things, in order to be considered ìgood.î Since it is the listener who will ultimately decide the quality of a piece of music, we must next realize the subjective nature of that decision. What sounds good to one person may sound terrible to the next. Every individual has a subjective side, called personal preference. A person could be taught the objective underlying forms of classical music to the point where they could technically judge a piece on the skill of its composer, and still prefer rock-a-billy. Itís all a matter of subjective personal preference. Thus one person likes rap, while the next prefers big band. Whoís to say whatís good? The subjective level is a personal means to judge what one prefers, but it is not the total answer for ìWhat is Quality?î Lastly, one can look at the intersubjective mode, which will also play a very large role in how one judges a piece of music. Each culture has a set view of what is ìgoodî and although that standard is not written down anywhere, each of us, through sharing information with those around us has our view of things shaped by the larger culture in which we live. Thus, a piece of music can be technically perfect in an objective sense, and fully appreciated in one culture, and totally rejected in another. Usually, a piece of music is written within a particular culture, with a definite audience in mind. Sometimes that target audience is a ìcounter-cultureî and the whole purpose of the music is to shock and threaten the larger culture within which it exists. Thus, itís easy to see how the intersubjective mode plays such a strong role in how music is written, and who it is written for. The artistic and creative fields such as architecture, automotive design, wine making and music all combine the three modes used to define quality, the objective, the subjective and the intersubjective. When done properly, whatever the endeavor, the underlying technical forms will closely approximate perfection, it will evoke some sort of response in those who appreciate it, and lastly, it will have some relationship to the culture in which it exists. It is only when viewed from within these three modes or views of quality that we begin to appreciate ìWhat is good?î
John and Phaedrus Conflict What light does the conflict between Phaedrus and John regarding attitudes towards motorcycle maintenance shed on the personality types that are confronting one another on the electronic frontier? How might the differences between these groups play out as the electronic frontier is tamed?	As previously stated, Zen is written on many different levels, and each one of the characters plays a specific role in assisting Pirsig to develop his definition of Quality. Pirsig uses them as a counter to his perceptions, as a contrast to his beliefs and as a way to introduce how people tend to react to the cold, sterile, objective oriented industrialized world. John and Sylvia, to me, represent modern American society at a macro level. As Pirsig states on page 14, "It's all the technology they can't take." From the very outset of the book Pirsig begins to describe the difference in opinion between he and John concerning the topic of motorcycle maintenance. Pirsig enjoys working on his motorcycle himself. I would go so far as to say, it "connects" him to his bike. It has allowed him to get past it's structures and substructures, and to view his work on it as a creative act. Thus, as he travels, he feels in control of the situation, he knows when to hold back to save the engine, he knows when to adjust the points. He is connected to his bike, because he cares, and through caring he invests Quality time in both his bike, and himself. "It seems natural and normal to me to make use of the small tool kits and instruction booklets supplied with each machine, and keep it tuned and adjusted myself. John demurs. He prefers to let a competent mechanic take care of these things so that they are done right." (pp. 9-10) John and Sylvia's fear of technology, and the feeling of alienation created by the objective world extends beyond just motorcycle maintenance. Beginning on page 13 Pirsig relates the story of the dripping faucet. He finally comes to realize that it is not motorcycle maintenance, it's not the faucet, but that it's, "it." "The system." The "it" is mainly technology. But it's even deeper than that, "it" is the force which gives rise to technology, inhuman, mechanical. That is what John and Sylvia are running from. Anything to do with valves and shafts and wrenches is a part of that dehumanized world, and they would rather not think about it. They don't want to get into it. (pg 15) I would say that this feeling is alive and well today, as we discuss the electronic frontier. All around me I see people who want little to do with technology, especially personal computers. As long as all they have to do is hit the "ON/OFF" button, and the machine works as advertised they are happy, but they make no attempt to understand how their PC functions, in fact, they're afraid to find out. A lot of times these feelings are hidden in trite phrases like, "these new computers are for the younger generation, I'm too old to figure these things out," or, "I'm always afraid I'm going to break something if I hit the wrong key." In reality what they're saying is they're scared to death of "IT." As Dr. Brad Cox is always saying, "computers are dumb as bricks." So what these experienced, intelligent people are saying is, "this pile of plastic, wire and silicon is smarter than I am." I don't believe it. They have become hung up in the objective ugliness, in the technology of the emerging electric frontier. They have not allowed themselves the ability to study its underlying structures, to become familiar with the interconnections, and the relationships, and to see the creative aspects represented by computers, or the creative potential they unleash. So, as Pirsig points out on page 49, "What we have here is a conflict of visions of reality." On the one hand you have a scientific reality, and you have one of artistic appearance, and the two don't match, they don't fit. Pirsig defines these two opposing views as the romantic and the classical. A classical understanding sees the world primarily as underlying form itself. A romantic understanding sees it primarily in terms of immediate appearance. (pg 61) As the book progresses, this dialectic is evolving, and the concept slowly develops, until on page 261 Pirsig begins to unify his thoughts on the topic. "The real ugliness is not the result of any objects of technology...The real ugliness lies in the relationship between the people who produce the technology and the things they produce, which results in a similar relationship between the people who use the technology and the things they use." He goes on to state, "The way to solve the conflict between human values and technological needs is not to run away from technology," but to find a way so see "technology as a fusion of nature and the human spirit." (pg 262) Once this is done, we can begin to view technology in both classical and romantic understandings. According to Pirsig, "The answer is Phaedrus' contention that classic understanding should not be overlaid with romantic prettiness; classic and romantic understanding should be united at a basic level." (pg 264) Thus, going back to my earlier analogy of my co-workers and their fears of the electronic frontier, they need to begin, or better, they need to be shown the form and function of the underlying structures of the emerging electronic frontier, and to begin to see the creative aspects of the the new technology. It has been my observation that most "techies" are very poor at this, and in some instances foster the idea that all this stuff is too complex for mere mortals. Which brings me back to Pirsig's initial thoughts on motorcycle maintenance, that almost everyone has the intelligence to understand how the electronic frontier works, but they are running from something they haven't taken the time to figure out, or to really understand. Maybe what we need are a few techies who are willing to leave their technical world, and to serve as mentors, as guides, to the new electronic frontier, much like Daniel Boone and Davie Crockett opened ways to the west.
Summarize motorcycle trip Pirsig intertwined two narratives, one about a motorcycle trip with his son and the other about his metaphysical inquiry into the meaning of quality. Summarize the narrative about his motorcycle trip with his son.	The narrative of Pirsigís motorcycle journey is an allegorical one, which can be read on many levels. In Pirsigís words, it is a chautauqua, intended not only to edify and entertain, but to improve the mind, to bring enlightenment to the ears and thoughts to the hearer. (pg 7) It is a quest in search of ìWhat is Good.î On the surface, the story is about a jouney between a father and a son, seeking to find their relationship following the fahterís release from a mental institution. On another level, the journey is a retelling of Pirsigís former life as a professor in Montana, under the alias Phaedrus, and his search for the meaning of ìQuality.î Two friends, John and Sylvia accompany Pirsig and his son on the trip. They serve to represent how society reacts to technology, and also serve as a means for Pirsig to develop his theories on the menaing of Quality. Lastly, the motorcycle trip provides Pirsig the ability to reinforce his thoughts with practical examples as he performs maintenance on his machine. All of these different levels are wrapped in the story of Pirsigís motorcycle journey across America with his son Chris. It is this trip, and its vignettes which serve as segues into his search for Quality. The journey begins in the Minnesota countryside. Pirsig, his son Chris, and their friends John and Sylvia are travelling to Montana. Their plans are indefinite, and although they want to make good time, things are measured in ìgoodî rather than ìtime.î (pg 4) On their trips they prefer the backroads over the straight super-highways. They rely on a certain type of dead reckoning to navigate, based on deductions and clues they find along the way. This serves as a backdrop to future points which Pirsig develops, that the machine you are working on is yourself, and that there is no roadmap, but that you must base your decisions on the clues you find along the way. Pirsig also points out that on a motorcycle, you are not a spectator, like in a car, but that you become a part of the scene, and that youíre in contact with it all. This seems to set up a major theme in Pirsigís idea of Quality. He states that when one isnít dominated by feelings of separateness from what heís working on, then one can be said to ìcareî about what heís doing, and when this happens you can also see the inverse side of what youíre doing, Quality itself. (pg 267) Pirsig uses John and Sylviaís attitude towards maintaining their motorcycle and their views toward technology as a foundation to explain the alienation that a purely objective based classical view creates. Each segment of the book revolves around a dialectic about Quality (usually during periods of riding) and the discussions between the travelers during rest breaks to advance the story. It is during one of these overnight stops that Chris brings up the subject of ghosts. Pirsig explains to his son that he is chasing his own ghost, named Phaedrus. (pg28) At this point in the story all the pieces have been put in place for the reader. We know the purpose of the trip, the characters involved, and the central themes to be discussed. For the reader it is here that the journey really begins. It is during one of these evening stops that the reader becomes aware of that fact that Chris is suffering from the first stages of mental illness, and this is why Pirsig has brought him on the trip. It is here that the reader is introduced to the tension between father and son, which serves as the backdrop upon which Pirsigís quest for Quality is played out. Once out of the Midwest, the group enters into the flat, hot Great Plains, which proves to be a test of both man and machine. John and Sylvia want to rush on and get through this stretch of the trip, but Pirsig, who is in touch with his machine, holds back. Pirsig uses this opportunity to discuss the differences between the Classical view of the world, and the Romantic view, or science versus art. Finally out of the plains, the group enters into the mountain foothills, and with a change in environment, the group enjoys an uplift in their attitudes. But, as the journey winds closer and closer to Bozeman, the specter of Phaedrus looms closer for Pirsig, and he becomes withdrawn from the group. As they arrive in Bozeman, Pirsig feels depressed because, ìto travel is better than to arrive.î Everything on the trip must now be reorganized, and he and Chris must decide what to do next. Up to this point father and son realize that there are significant problems, but Pirsig has yet to confront his past, and because of this, he has been unable to connect with his son. Their path is not clear, but their journey must continue. During this period the group stays with old friends of Pirsig, the DeWeeses. At first there is a hidden tension as Deweese and Pirsig evaluate one another to see if there is a hint of the old Phaedrus present. Deweese breaks the ice by stating ìyouíve changed a lot.î The evening evolves into a discussion about a set of instructions on how to assemble a barbecue grill. This leads into a deeper discussion between Deweese and Pirsig on maintaining peace of mind when you work on a project, or you will only incorporate your personal problems into the machine itself, and how most technical instructions do not allow for the creative aspect of human nature, giving you only one way to assemble the device. Pirsig goes on to explain that machines are made up of molecules, which can neither be right or wrong. The test of the machine is your own mind. This is then followed by a discussion that to divorce art from technology is unnatural. Thus, Pirsig is able to illuminate his deeper thoughts on the metaphysical aspects of the union between the classical and romantic views of Quality. After a couple of days rest, John and Sylvia depart for home, leaving Pirsig and Chris to wander the streets of Bozeman, and the University of Montana, where Pirsig began his quest to define Quality. Both Pirsig and his son go through heavy recall of their tortured past. Chris runs from his fears, Pirsig is drawn toward them as he reenters his old classroom, and his previous existence as Phaedrus. It is at this point that Phaedrus begins to awaken. Pirsig and Chris decide to climb the mountains behind the DeWeeses. Chris has been taught in a YMCA camp to climb with an ego, going through a proof-of-manhood thing. Pirsig cautions that mountains should be climbed with as little effort as possible, and without desire. When you try to climb a mountain to prove how big you are, you almost never make it. Chris falls further and further behind, and finally Pirsig ends up carrying both packs. Much like John and the subject of motorcycle maintenance, Chris is not ready for help or advice, and the result is resentment on Chrisí part. Pirsig is troubled about his son, and their relationship. That night Pirsig dreams about being separated from his family behind a glass door. Itís a dream which has often occurred before. The following morning, after both he and Chris are awake, Chris complains that his father has kept him up all night talking, about meeting him at the top of the mountain, where theyíd see everything. As Pirsig states on page 167, the allegory of the physical mountain and the spiritual one is an easy one to make. Once they reach the peak of the mountain Chris begins to ask Pirsig about the dream, which begins to disturb Pirsig. He knows he is a long way from help if he loses touch with reality up on the mountain, so he uses the chance of rock slides as an excuse to begin the descent, despite Chrisís obvious disappointment. Once down off the mountain, Pirsig has another Glass Door dream, only this time he tells Chris heíll meet him at the bottom of the ocean! This dream sets the stage for the next portion of the book. If Chris and Pirsig discovered the metaphysical relationship of Quality at some mountaintop of personal experience, he now seeks to apply that knowledge to all the valleys of this world, the dull dreary jobs and monotonous years that await all of us. (pg 229) The final episode begins with Pirsig and Chris saying goodbye to Deweeses, because Pirsig is driven to travel west, and to get on with his thoughts. On their trip west the Glass Door nightmare reoccurs, only this time, Pirsig confronts the figure in the shadows who is keeping him from his family, only to discover it is himself. It is at this point that Pirsig realizes that Phaedrus is awakening again. The connection is complete and the memories of his shattered past come flooding back. Chris is frightened by the dream, and begins to ask why they continue to travel. Pirsig tries to respond, but with little success. Pirsig is doing the highest-Quality thing he can think of right now. As he states, ìWe must keep going until we find out whatís wrong, or until we find out why we donít know whatís wrong.î (pg 308) In Pirsigís mind the line begins to blur between his remembrances and his current reality as his past is revealed. Somewhere in Northern California Chris finally tires of sitting while his father just stares. Chris wants to end this trip and go home. As they discuss it, Chris confronts Pirsig with the critical element of the story, and relates that somehow his father has changed. He relates how he used to like it back in Chicago, before his father left him, and how they would do things together. Pirsig realizes that he had to give all of that up to gain his freedom, and to be allowed to return to his family. Pirsig finally begins to realize that Chris is looking for his old father, Phaedrus, not him. Pirsig also begins to realize that Chris has the same affliction as him, driving for the answers, and killing himself in the process. Pirsig realizes that he could imitate the father heís supposed to be, but on the Quality level, Chris would see right through it. At this point their relationship enters into crisis as Pirsig fears his own instability, and his inability to look after his son, and decides to send him home on the bus. Pirsig tells Chris that all of his troubles are in his mind, and Pirsig realizes that he has not been helping his son, heís been killing him. Chris begins his own catharsis, wailing out loud. At this point the two characters, Phaedrus and Pirsig combine, and is able to comfort his son. He tells his son that everything will be o.k., and that from now on they will be together. Chris confronts his father with why he left them at the Glass Door. Pirsig finally realizes that the Glass Door was not a dream, but that it actually happened. For all these years Chris had carried with him the pain that his father had left him, and that his father really didnít want to see him, and so he could never fully realize the reasons behind the drastic change in his father. Chris asks his father if he was really insane, and Pirsig responds ìNo!î Chris says, ìI knew it.î Pirsig finally realizes that in his dreams that it was always Chris who was trying to open the Glass Door, and that the shadowy figure holding him back was himself, and that Chris was the reason he changed, so that he could raise his son. For all these years Chris had been carrying him, not the other way around. And Pirsig finally unlocks the door to understanding their relationship when he says, ìThe answer is right in front of me. For Godís sake relieve him of his burden! Be one person again!î (pg 370) They gather their things and begin back down the highway, but now their mood, and their relationship has changed. Chris says, ìItís so different.î Pirsig asks ìwhat?î Chris responds, ìEverything. I could never see over your shoulders before.î Pirsig thinks, ìThatís true. I never realized it. All this time heís been staring into my back.î All of this serves as a way of saying that now that Pirsig and Phaedrus are whole, his relationship with his son is whole, and his son is living his own life for the first time. In the Afterward Pirsig tells of Chris being murdered just two weeks before his 23rd birthday. Pirsig looks for the answer to the question, ìWhere did he go?î He answers his own question by realizing that the flesh and blood that made up Chris was not all that he was. That Chris, was a part of a pattern, larger than just he and Chris, but that the pattern joined them in ways neither understood completely. Although Chrisís death tore a hole in that pattern, it still remained. When Pirsigís second wife becomes unexpectedly pregnant, Pirsig senses that Chris is there, telling him that they should not abort the fetus, but to have the baby. Pirsig senses that Chrisí ghost has found its new existence in their new little girl, Nell. She helps bring Pirsigís life back into perspective, and allows Pirsig to see that the larger pattern holds us all together, and goes on and on.
Talk To Me Talk to me. How did this task go for you? Spot any typos? Any suggestions for improvements?	I enjoyed this exercise very much. This is the fourth or fifth time I have read Pirsig. I must admit that the challenges of this course have caused me to view his ideas in a slightly different light, but I got alot out of it. I found reading the supporting articles very helpful in relating the three views on quality, and bringing the issues into focus for me.
What is Quality? The other narrative was about Pirsig's metaphysical inquiry into the meaning of value (usually referred to as quality). Describe the two styles of reasoning that he juxtaposed during this inquiry. How did he reconcile these two styles in the end? According to Pirsig's book, What is Quality?	The second major theme which runs throughout Pirsigís book is a Chautauqua, or dialectic into the meaning of Quality. As stated earlier, Pirsig uses the journey as an opportunity to discuss his views on value (Quality), and the story is used as the framework upon which this discussion is built. Pirsig compares and contrasts two styles of reasoning, the first being the Objective style, the second being the Subjective style. In the book Pirsig refers to them as Classical understanding and Romantic understanding. A classical understanding sees the world primarily as underlying form itself. A romantic understanding sees it primarily in terms of immediate appearance. (pg 61) Thus, the classical understanding is based on logic and science, the romantic is based on the creative and artistic aspects. The classic mode of understanding is based on reasoning and laws. ìThe classic style is straightforward, unadorned, unemotional, economical and carefully proportioned. Its purpose is not to inspire emotionally, but to bring order out of chaos and make the unknown known. (pg 61) ìThe romantic mode is primarily inspirational, imaginative, creative, intuitive. Feelings rather than facts predominate. Art, when it is opposed to science is often romantic.î (pg 61) Throughout the book, Pirsig uses his motorcycle as a means to make his views on the classic versus the romantic modes tangible. In Chapter 8 he describes the motorcycle as a real system, and goes to great length to explain the underlying structure from a classical viewpoint. Later in the book he uses the analogy of trying to remove a side cover assembly, and a stuck screw to illustrate how the classic and romantic modes must both be used to creatively solve problems. ìTraditional scientific method has always been at the very best, 20-20 hindsight. Creativity, originality, inventiveness, intuition, imagination ñ ìunstuckness,î in other words ñ are completely outside its domain.î (pg 251) Pirsig begins with an exploration of the formal scientific method. He states that ìthe real purpose of the scientific method is to make sure Nature hasnít misled you into thinking you know something you donít actually know.î (pg 94) He goes on to define the fundamental flaw in the scientific method, in that , through the multiplication of facts, information and hypothoseses, science itself was leading man from single absolute truths to multiple, intermediate, relative ones. The result was social chaos, scientifically produced anti-science ñ chaos. (pg 102) It is along this line of thought that Phaedrus begins his line of inquisition into Quality. He saw science for what it was, emotionally hollow, esthetically meaningless, and spiritually empty. His views which challenged the academic status quo made him a very controversial figure at the University of Montana. He was dissatisfied with the mindless teaching of dull things over and over to endless waves of students, while giving a false appearance of genuine education. He saw real education as the key, and called the schoolhouse the ìChurch of Reason.î To clearly illustrate his views on the classical view versus the romantic view he developed the Church of Reason lecture (pg 131) He begins with a newspaper article about a church which had been sold, and turned into a bar, with a neon beer sign hanging out front. A number of people began to complain to the church officials about the situation. The priest who had been tasked to respond was irritated by the peopleís ignorance of what a church really was. ìDid they think that bricks and boards and glass constituted a church? The building in question was not holy ground, it had been desanctified. The beer sign resided over a bar, not a church.î (pg 131) Thus, the priest could clearly separate the ìchurchî from the physical plant in a purely classical view, while the people had attached emotional value to the building, in a purely romantic view. He draws this analogy out further when his students begin to question the fact that his views may end up in the college loosing its accreditation, and in their eyes, their education become worthless. He makes the same point, that a school is more than buildings and books. Accreditation or not, itís the Quality of the learning that counts, and that the real university is not material things, but a state of mind. (pg 132) Pirsig picks up the theme of Quality next. He attempts to envision a purely objective world, with Quality subtracted from the description. What he comes up with is squareness. Life would just be living without any values or purpose at all. Since the world doesnít function normally when Quality is subtracted, Quality exists, whether it's defined or not. (pg 195) Quality then became a cleavage term. ìYou take your analytic knife, put the point directly on the term Quality and tap, and the whole world splits right in two ñ hip and square, classic and romantic, technical and humanistic ñ and the split is clean.î (pg 196) The rest of the faculty at Bozeman challenge Pirsigís views and present him with a dilemma. ìIf Quality exists in the object, why canít scientific instruments detect it?î (pg 207) Pirsig was not quick to answer this question, because it was designed to cause him to either defend an unsupportable position, or refute the other half of his argument. At some point in time he came to the conclusion that you normally associate quality with objects, but feelings of Quality sometimes occur without any object at all. At first he pursues the thought that Quality is all subjective. But subjective pleasure wasnít what he meant by Quality either. Quality actually decreases subjectivity, it makes you more aware of the world around you, thus Quality is opposed to subjectivity. He comes across the thought that Quality is not independently related to either subject or object, but could only be found in the relationship of the two with each other. Quality is not a thing, it is an event, and that event is when the object and the subject become aware of their interdependent existence. Quality is not subordinate to object and subject, they are subordinate to it, for it was the event which created them! (pg 215) On page 254 Pirsig offers a mental construct which brings the classical and romantic styles together in one easy to grasp illustration. He uses a long 120-car railroad train called ìknowledgeî and subdivides it into two parts: Classic Knowledge and Romantic Knowledge. Classic Knowledge makes up the engine and the boxcars, the underlying structure of the train. If you look at the structure alone, there is no Romantic Knowledge, so the train is purposeless and static. Romantic Knowledge isnít a ìpartî of the train, itís the leading edge of the engine. Without the leading edge of Romantic Quality the train has no purpose and so it goes nowhere. With Romantic Quality, the train is always moving down the track, and that track is Quality. As stated earlier, Classic knowledge is always 20-20 hindsight, and the future, the track ahead is Quality, while Romantic Knowledge, the leading edge of the train is where all of the infinite possibilities of the future are contained. Thus, the train can only move forward by uniting the classic and romantic views into one whole, all moving down the track called quality. ìTo put it in more concrete terms: If you want to build a factory, or fix a motorcycle, or set a nation right without getting stuck, then classical, structured dualistic subject-object knowledge, although necessary, isnít enough. You have to have some feeling for the quality of the work. You have to have a sense of whatís good.î (pg 255) Now that Pirsig has unified the dualistic nature of the classic and romantic views, he brings forward some thoughts on caring, and combines that with his new definition of Quality to illustrate some practical examples about ìstuckness.î He begins by saying that peace of mind is a prerequisite for a perception of that Quality which is beyond romantic Quality and classic Quality and which unites the two, and which must accompany the work as it proceeds. When one isnít dominated by feelings of separateness from what heís working on, then one can be said to ìcareî about what heís doing. That is what caring really is, a feeling of identification with what oneís doing. When one has this feeling then he also sees the inverse side of caring, Quality itself. (pg 267) Peace of mind produces right values, right values produce right thoughts. Right thoughts produce right actions and right actions produce work which will be a material reflection for others to see of the serenity at the center of it all. On a macro level, Pirsig applies his views on Quality to a social construct. He states that social values are right only if the individual values are right. The place to improve the world is first in oneís own heart and head and hands, and then work outward from there. (pg 267) Finally, Pirsig sums up his views by stating that technology has been blamed for a lot of the loneliness in the world. He believes that the real evil is not the objects of technology but the tendency of technology to isolate people in attitudes of objectivity. In his view, Quality destroys objectivity every time. His personal feeling is that any further improvement of the world will be done by individuals making Quality decisions, and thatís all. He wants to return to the rebuilding of the American resource ñ individual worth. Phaedrus saw a need for a new philosophy, Pirsig thinks Phaedrus was wrong. In the end, Quality is not ìout thereî but inside each person. The quest for Quality can only be realized when each person looks within themselves, finds the inner peace of mind, develops a sincere care about their work, unifying both the classical underlying structure, and the romantic sense that it is satisfying, and producing things of real Quality.
What more could I do? What more could I do as faculty to decrease the time and energy being spent on low-level, plumbing issues and to increase the amount of attention you're spending on Quality? What more could I do to get students to care about quality?	I think the plumbing issues are critical to this course, and they give you something tangible to base your ventures into Quality on. Without the plumbing issues, this becomes a very ephemeral course. As far as what YOU can do to make the students care about quality? Very little, to be honest. Each student brings to your course their own objectives and agendas. The best you can hope to do is to light a spark, which I'm certain you want to see flash into a roaring fire overnight, but in reality might sit and smolder for years, until at some unkown time, the right set of circumstances occur, and the student says "Aha!! That's what old Dr. Cox was talking about!" You're doing the right thing. As I said earlier, I've found that most techies want to protect thier little world, and almost by design don't want to let the average person in on thier secrets. What we need are more people like you, to act as the Daniel Boones and Davie Crocketts to help lead us to the electronic frontier.
When the Rubber Meets the Road When the rubber meets the road and concrete decisions are needed, the time for philosophical inquiries into the meaning of quality has passed. Discuss how the three meanings of quality and value outlined above and in the references should apply to web page construction. Explain how different tools for valuing quality are reconciled when concrete decisions must be made. The purpose of this question is to determine whether you understand how these terms apply to practical life.	First, from a purely objective viewpoint, youíve got to understand the pipes and plumbing issues if youíre going to get anywhere. But I see this as more foundational than anything else. In reality, if you didnít want to take the time to learn the stuff you could hire a bunch of nerds to build your web pages. (Much like John running from motorcycle maintenance). I guess what Iím trying to say is yes, understanding how all of this works is critical to the final product, but it is not THE critical issue. Subjectively, when engaging in a project, youíve got to have some sense of feeling for it. Youíve got to care about it. And once youíve got the old interest level up there, then you begin to see the possibilities, and the creative juices start flowing, and the inner quality of the individual starts to show through in the product, in this case, a web page. Lastly, but most importantly in my way of thinking, you must think about the audience for which you are writing. If I am building a web page for a group of engineers who have told me their design criteria is for a page they can source to find technical data with as little wasted time, effort and distraction, then Iím going to build an entirely different web page than say, someone who is trying to sell a product or an idea on the Internet. This is what I would consider the intersubjective mode, writing for the culture that will use your product. I must be aware of the culture for which I am designing my page. I cannot say which one is more important, but I think you must seek a balance. I would say that the objective is not as important as the intersubjective, but the thing has got to work properly and efficiently or it will be just as distracting if the end product did not coincide with the cultural norms you were writing for. In the end, Quality is a journey and not a destination. The goal is to constantly strive to improve in all three areas, which will result in Quality.