
Hang out with philosophers or theologians long enough, you're likely to run into "Pascal's Wager": the Blaise Pascal's idea that you should believe in God, because if He exists, betting on Him wins you everything and betting against Him loses you everything, whereas if He doesn't, you lose nothing.
Right off the bat, we can see this original version of the wager is an intellectually dishonest argument: you don't "lose nothing" if you choose to believe that God exists and He doesn't. At best, you're being credulous; at worst, if you're being cynical about your belief, you're sacrificing your intellectual integrity.
Pascal backs off from all or nothing a bit as he's trying to dig himself out of the hole, claiming that he's comparing infinite gains of eternity in heaven against finite losses you can experience here on Earth. Some may have sincere trouble in believing, but he argues they should try to convince themselves.
Now, let's be fair to Pascal here: if you read his original text, he wasn't actually trying to convince atheists to believe per se, but instead, trying to show that the world is too uncertain for logical proofs of the existence of God, but we're probably better off acting like God exists, in case it moves us to faith.
Unfortunately, Pascal died before he could fully explain himself: the wager appears to be the introduction of a book on the value of faith that he never finished. But, like a philosophical zombie, the argument has continued its life, hollowed out from its original intent, eating brains in every new generation.
Let's slay this zombie, shall we?
Pascal's wager first appears to be an exercise in game theory: a mathematical formalism for analyzing the best choices in games. In this case, you are playing a game against the Cosmos. Your move is to believe, or not, and the Cosmos's "move" is whether God exists, or not.
[Now, the theologically savvy among you might feel like pointing out that God created Creation, and is not a part of it - which is why I used Carl Sagan's more inclusive formulation of the Cosmos as "all that is, was, and ever shall be," and I'm going to run you off with a broom if you argue about what "is" means].
This leads to a simple table: your choice of belief times the existence of God. If He is, and you choose to believe: payout plus infinity; choose not to believe: payout minus infinity. If He is not, whether you choose to believe or not, the payout is zero, or at least finite. Pick the cell with the highest value.
The emotional force of this argument is strong - for the believer - for, in decision theory, we should weigh the probability of one cell against the other, and intuitively, unless we judge the possibility of God to be literally zero, the infinite payout of the God-exists column dominates finite payouts of God-doesn't.
Mathematically, that's, um, specious at best - it looks true, but it's not a valid decision-theoretic argument. First off, Pascal put infinity in the God column specifically to outweigh any possible finite payout, but technically, we can't multiply infinite quantities by finite quantities this way.
Now, when it comes down to the question of whether infinities are actually real, or just a bad metaphor that leads people astray, I'm firmly ready to go to infinity - and beyond! But, technically mathematically, most of the time "infinity" is just a stand in for "this process can go on indefinitely without a limit."
As soon as you admit that the payout of Heaven might be finite for the purposes of modeling, then the probability assigned to the "God exists" column can be set so low that the "God doesn't" column becomes attractive. But that gets us no further than Pascal and his strict (zero-probability) unbelievers.
To me, the key flaw in Pascal's wager is what physicist E. T. Jaynes called the "mind projection fallacy": assuming that the constructs you're using in your mental models exist in reality. That's how Pascal can even put the wager to someone in the first place: he sets up the board and says "you must wager".
But the gameboard Pascal sets up doesn't exist in reality, and there's no reason for someone else to model the problem the same way. A student of religion might add columns for different views of God: Jesus who saves, Zeus who's a jerk, the Great Electron, which doesn't judge, but just is, whoa whoa.
Equally well, a student of epistemology might add many columns for belief: strict disbelief, partial belief, certain belief; an evangelical might add columns for "the hope so's" and "the know so's". Even the probabilities of columns are up for grabs. We've got a matrix of confusing possibilities.
This flaw in the wager, like the flaws in much science and folk psychology about belief, is that we do not reason about facts provided by others according to the models in the other's head: we reason about the claims that others make about facts, which we internalize based on own beliefs - and trust of the other.
Even in the simplest form, moment you start counting the columns of the wager as beliefs, the infinities disappear: there's only a claim of infinite goods in heaven, and a claim of infinite punishment in hell - and a claim that the alternative yields you only finite rewards.
And those claims are mixed in with everything else we know. As a mathematical exercise, the self-contained four-cell version of the wager has a maximum payout in the "believe in a God who exists" cell; as something that corresponds to reality, the cells of the wager start to leak.
Mathematics is an abstraction of reality - an act of creative human imagination to create repeatable forms of reasoning. I'm on the side that there is an actual reality behind this repeatability of mathematics, or it would not work; but applying mathematics to any particular problem must leave out certain details.
This is leads to the law of leaky abstractions: the notion that, no matter how good the abstraction, sooner or later it is going to fail to model the world. Forget game theory, decision matrices, and probabilities: even something as simple as the mathematical concept of number can break down.
One of the reasons I haven't published my tabbouleh recipe is that it's hard to quantify the ingredients - two bunches of parsley, four bunches of scallions, six tomatoes, two cups of fine bulgur, the juice of a lemon, etc - but since tomatoes are of different sizes, that "six" is a messy number.
But at least tomatoes come in integral quantities. Parsley comes in bunches, which are not just of different sizes; they're composed of individual stems, picked from different plants, which have different degrees of growth, freshness and wilt. Parsley needs to be cleaned and picked to use in tabbouleh.
Sometimes, you need to buy three bunches of parsley in order to end up with two. That's the law of leaky abstractions for you: you have to purchase parsley in integral units of bunches, but the bunches themselves don't correspond to the quantities that you can actually use in your recipe.
Picking beliefs for use in our minds is far more complicated than assembling a heritage Lebanese salad. There are thousands of potential facts affecting any given problem, more intertwined than the branching leaves of those leafy greens; but like them, some are fresh and edible, others black and wilted.
This was the actual point of Pascal's argument, the one he hoped to expound on his unfinished book. But the wager, because it's a mathematical abstraction - because it's repeatable reasoning - has lived on, a zombie argument which purports to give a rational reason why you should believe in God.
Ultimately, we need to carefully winnow through information that we get from others before incorporating it into our beliefs; there is no royal road to convincing anyone of anything, much less God. As for belief in God, many Christians think that must ultimately come not from reason, but from grace.
Fortunately, God gives that gift of belief for free, if we want it.
-the Centaur
Pictured: Blaise Pascal.
Drawing every day.
-the Centaur 
It's late and I'm tired, so you get a quick sketch of
Still, drawing every day.
-the Centaur 
Andrey Markov, roughed with a 2B pencil on Strathmore 9x12. I then rotated the drawing and the reference photo 180 to correct errors, over a couple of quick passes, before inking directly on the paper with Sakura Pigma and Micron pens. Not completely terrible, but I still need to practice drawing eyes.
Drawing every day.
-the Centaur 
Einstein on Strathmore 9x12. First roughed with a #2 pencil, again using the trick of rotating it 180 so that I could force myself to see and draw what was there, not a caricature of a face. This came out good enough that I half-erased it, finessed the lines, and half-erased again, tightening up, before inking with Sakura Pigma and Micron pens. As for whether the face looks like a face ...
... I do see things to fix, but I am not so unhappy with this one. I put special focus on the relative position, shape, and direction of the eyes, and cross-correlated with the mustache, hair and ears; a few more tweaks to the eyes, eyebrows and lip direction, plus the eye direction, really brought out the smile.
Drawing every day.
-the Centaur 
A sketch of Josephus the historian on tracing paper using Sakura Pigma and Micron pens. I started sketching with a Winsor-Newton 2B pencil on Strathmore, but the face wasn't coming out quite right. To correct it, I opened Google Meet - yes! - which mirror-reflects the images it presents of yourself (so you see what you normally see in a mirror and aren't weirded out). I already had Josephus's bust up in a Preview window, so I mirror-reflected that horizontally and compared them, trying to make fixes.
Mirror reflecting a drawing helps you see flaws in it, and that helped, but on the fine details of the face, it's really hard for me to draw things like lips and noses as what is there, rather than what my mind caricatures, so I eventually flipped the drawing back to normal and rotated it 180, so I would not see the stereotypes and instead had to focus on the shapes.
And when I was done with all that, I decided that it was still off, and I needed to start over.
Since it's late and I'm tired, I pulled out my tracing paper and attempted to correct the drawing by tracing over my own roughs, below. The advantage of this approach is that I can change anything, or even neglect to trace something which was done correctly on the previous level, so, best of both worlds. I think I did pretty OK, though I had not noticed that I'd exaggerated the vertical height of his nose.
Compared to the original ... well, yeah, Josephus has a heck of a schnoz, but I made it like 10-15 percent too tall, and missed the straight line on the hair on the bottom back of his head.
Otherwise, a ... not completely terrible rendition?
Drawing every day.
-the Centaur 
It's late, and I'm tired. Here's an alleged sketch of an alleged picture of Thomas Bayes.
Eyes are off (more visible if you mirror flip the sketch). And I still am making heads too fat.
Still, drawing every day.
-the Centaur 
A drawing of St. Thomas Aquinas, trying to make faces look like faces. I don't think I made his face quite fat enough (an opposite problem from previously), and while the relative positions of the eyes are OK, they seem tilted in place. Also, I think I can do better on the ink rendering, in part with better technique, in part by taking more time - though I did deliberately skimp on the time spent on rendering a bit so I could get to bed at an earlier hour tonight - as Saint Aquinas might have said,
Ah well. The fix is ... to keep drawing every day.
-the Centaur 
As it says on the tin: trying to get to bed earlier and did a quick sketch. From the cover of a random comic "Gearhearts" in my inspiration pile. The sketch didn't turn out ... terrible ... in fact, the arms almost came out right, and it sort of looks like the cover. But as usual, doing one or two iterations of roughs would have helped the layout of the head and face. My eyes just seem to move around, man.
Drawing every day.
-the Centaur 
Alan Turing, rendered over my own roughs using several layers of tracing paper. I started with the below rough, in which I tried to pay careful attention to the layout of the face - note the use of the 'third eye' for spacing and curved contour lines - and the relationship of the body, the shoulders and so on.
I then corrected that into the following drawing, trying to correct the position and angles of the eyes and mouth - since I knew from previous drawings that I tended to straighten things that were angled, I looked for those flaws and attempted to correct them. (Still screwed up the hair and some proportions).
This was close enough for me to get started on the rendering. In the end, I like how it came out, even though I flattened the curves of the hair and slightly squeezed the face and pointed the eyes slightly wrong, as you can see if you compare it to the following image from
-the Centaur 
Full drawing of
Rather than starting over on Strathmore, I switched to tracing paper and tried the following. In some ways I like this drawing more than some of the later sketches - it captures a bit of Gödel's distinctive face - but I rapidly realized I'd again got the macro-architecture of the sketch wrong, shoulders ending up in the wrong place and such. Also, though you can't tell from this crop, it was too small on the page.
So I started over, producing the following sketch. The face is a bit off here, too wide, looking something like a cross between Mr. Magoo and Joe Biden (if either wore glasses). But I could tell the overall layout was good this time - things were roughly in the right place, and could be corrected with some effort.
I traced the following directly over the previous sketch, correcting for the shape of the nose and face, but keeping the parts that seemed like they were a good fit. This sketch wasn't perfect either, but it was close enough for me to get started - I had blogposts to write! - and led to the drawing at the top of the page, which I traced over the below drawing, making a few more corrections and allowances for rendering.
The original? Below, from a
My drawing ... sorta looks like the guy? I still think I can do better, particularly in making faces longer and narrower (a problem I had with the Eleventh Doctor as well). But still ...
Drawing every day.
-the Centaur