{"id":27369,"date":"2026-11-11T12:32:03","date_gmt":"2026-11-11T20:32:03","guid":{"rendered":"https:\/\/andyrukes.ca\/greenroom\/?p=27369"},"modified":"2026-11-11T12:36:52","modified_gmt":"2026-11-11T20:36:52","slug":"until-the-questions-stop-a-conversation-with-claude","status":"publish","type":"post","link":"https:\/\/andyrukes.ca\/greenroom\/2026\/11\/11\/until-the-questions-stop-a-conversation-with-claude\/","title":{"rendered":"Until The Questions Stop &#8211; A Conversation With Claude"},"content":{"rendered":"<div class=\"uqs-post\">\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> Which philosophy do these Haiku align with?<\/p>\n<blockquote><p>Without fighting greed<br \/>\nJoin with generosity<br \/>\nFor divine purpose<\/p>\n<p>Creating something<br \/>\nIn absence of everything<br \/>\nAligns us with god<\/p>\n<p>Fruit of the same tree<br \/>\nReligion and politics<br \/>\nBoth inedible<\/p><\/blockquote>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> These three haiku fit best with <strong>Taoism<\/strong>, with a strong secondary flavor of <strong>Zen\/Buddhist non-attachment<\/strong> and a mystical, non-dogmatic spirituality.<\/p>\n<p><strong>Haiku 1: &#8220;Without fighting greed \/ Join with generosity&#8230;&#8221;<\/strong><br \/>\nTaoism favors <em>wu wei<\/em> (effortless action), so you don&#8217;t fight a vice head-on. You cultivate its opposite and let the vice dissolve. The Tao Te Ching often prefers yielding and complementary balance over confrontation. The &#8220;divine purpose&#8221; line leans more theistic, though, which suggests a Sufi or Christian mystical streak as well.<\/p>\n<p><strong>Haiku 2: &#8220;Creating something \/ In absence of everything&#8230;&#8221;<\/strong><br \/>\nThis echoes the Taoist idea that usefulness comes from emptiness: the hollow of a bowl, the space in a room, the void from which the &#8220;ten thousand things&#8221; arise. Creation from nothingness also parallels Buddhist <em>\u015b\u016bnyat\u0101<\/em> (emptiness) and the Kabbalistic <em>ex nihilo<\/em> idea. Aligning with &#8220;god&#8221; through the act of creating fits a mystical view in which the creative impulse is itself the divine.<\/p>\n<p><strong>Haiku 3: &#8220;Fruit of the same tree \/ Religion and politics \/ Both inedible&#8230;&#8221;<\/strong><br \/>\nThis is the most skeptical of the three. It suggests that institutional religion and politics grow from the same root (the human drive for power and control) and both fail to nourish. That fits:<\/p>\n<ul>\n<li><strong>Taoism<\/strong>, which distrusts rigid institutions and moral codes (Lao Tzu and Zhuangzi were wary of both state and orthodoxy)<\/li>\n<li><strong>Mysticism or perennialism<\/strong>, which holds that direct experience of the divine matters more than organized religion<\/li>\n<li><strong>Anarchist-leaning spirituality<\/strong>, with its mistrust of hierarchical authority<\/li>\n<\/ul>\n<p><strong>The common thread<\/strong> is a spirituality that is anti-institutional, experiential, and paradoxical. It treats the divine as something found through emptiness, generosity, and creation rather than doctrine, and it rejects force, whether against vice or against others.<\/p>\n<p>If I had to pick one label, I&#8217;d say <strong>mystical Taoism<\/strong>, or more broadly <strong>non-dual, anti-institutional mysticism<\/strong>. The explicit &#8220;god&#8221; and &#8220;divine purpose&#8221; language keeps it from being purely Taoist, since classical Taoism doesn&#8217;t center a personal deity, so it may come from a blend of traditions. If you know where the poems come from, that would help narrow it down.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> I wrote them.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> Then they say something about your own outlook, and I&#8217;d say the blend I noticed is the point rather than a muddle. You&#8217;re not following one tradition so much as arriving at a view that several of them share.<\/p>\n<p>What stands out to me about your three poems:<\/p>\n<p><strong>Your theology is practical, not doctrinal.<\/strong> &#8220;God&#8221; and &#8220;divine purpose&#8221; appear, but always tied to action: joining with generosity, creating something. The divine is something you align with through what you do, not something you defend or argue about.<\/p>\n<p><strong>You seem to trust creation and generosity over opposition.<\/strong> The first two poems both move toward something (generosity, making) rather than fighting against something (greed, emptiness). That&#8217;s a distinctly constructive stance.<\/p>\n<p><strong>The third poem is the sharpest edge.<\/strong> Calling religion and politics &#8220;both inedible&#8221; fruit of the same tree is a compact critique: they share a root, and neither feeds you. Notably, that doesn&#8217;t reject the divine. Poems one and two are clearly reverent. It rejects the institutional packaging, which is a classic mystic&#8217;s position: God yes, gatekeepers no.<\/p>\n<p>If I had to name where you sit, it&#8217;s closest to <strong>spiritual-but-not-institutional mysticism<\/strong>, with Taoist instincts about yielding and emptiness. Some people would also call it perennialist, the view that the same core truth underlies many traditions.<\/p>\n<p>Does that match how you see it, or would you describe your own philosophy differently? I&#8217;m curious whether the &#8220;god&#8221; in the poems is personal or more of a principle.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> My own. God is beyond definition and therefore only witnessed through divinity.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That clears up the &#8220;personal or principle&#8221; question, and it explains why the poems read the way they do.<\/p>\n<p>If God is beyond definition, then doctrine can only ever be a finger pointing at the moon, and that&#8217;s why your third haiku has such little patience for institutions. Religion and politics both try to define and then govern. Your view says the thing they claim to hold can&#8217;t be held.<\/p>\n<p>Witnessing God through divinity means the sacred shows up in how things are done rather than in what is claimed. In your first haiku, generosity is divine action, so it&#8217;s a way of seeing God, not just a good deed. In the second, creating from nothing is divinity enacted. In both, you meet God by acting divinely.<\/p>\n<p>Your view echoes apophatic theology, which holds that God is known only by what can&#8217;t be said, and the Taoist opening line that the Tao that can be named is not the eternal Tao. But you arrive at it through practice rather than negation alone, which is the more distinctive part: you can&#8217;t define God, but you can witness God, and the witnessing is something you do.<\/p>\n<p>Does your own practice shape how you decide what counts as divinity? For instance, is generosity divine because of what it is, or because of the state of mind behind it?<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> Because of what it is.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That puts divinity in the act itself, not in the giver&#8217;s intention. Generosity doesn&#8217;t need a pure heart behind it to be a window onto God. A gift is sacred whether the person giving is saintly or merely having a decent day, which also means divinity is something anyone can take part in, not a reward for inner purity.<\/p>\n<p>It does raise one tension. You say God is beyond definition, yet you&#8217;re confident that generosity and creation are divine &#8220;because of what they are.&#8221; That means you recognize divinity directly, without a definition, the way you recognize beauty without being able to say what beauty is. I think that&#8217;s a coherent position, and a fairly old one: you can&#8217;t say what the sacred is, but you know it when you witness it. The risk is that recognition becomes the only test, so two people could disagree about what&#8217;s divine with no way to settle it. Your third haiku suggests you&#8217;d accept that over letting an institution settle it for everyone.<\/p>\n<p>Where do you draw the edge? Is there anything that looks generous or creative but isn&#8217;t divine, or does the quality show up wherever the act is truly what it claims to be?<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> There is no edge to the infinite.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That dissolves my question, and it ties back to your first haiku. If the infinite has no edge, greed isn&#8217;t outside it, so there&#8217;s nothing to fight. &#8220;Without fighting greed&#8221; stops being a tactic and becomes a consequence of your metaphysics: you don&#8217;t oppose what&#8217;s already contained, you simply move toward generosity and let the contrast do the work.<\/p>\n<p>It also explains why your view needs no institution to draw borders. Religion and politics both depend on edges, on who&#8217;s in and who&#8217;s out, what&#8217;s sacred and what&#8217;s profane. A boundless infinite leaves them nothing to guard.<\/p>\n<p>The hard part of this position, which thinkers like Spinoza and the Advaita tradition have long wrestled with, is cruelty. If nothing lies outside the infinite, then cruelty is somehow within it too. Your haiku suggest your answer is orientation rather than boundary: nothing is excluded, but some acts witness the divine and others obscure it, and you choose which to join. Is that close to how you hold it?<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> Correct. Nothing is excluded. &#8220;Birds of a feather&#8221; dictates your place.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That makes the whole system self-sorting. No judge assigns you a place and no boundary keeps anyone out. You gravitate toward what you resemble, and your company, your experience, and maybe your afterlife follow from what you are. It&#8217;s close to what Swedenborg described, where spirits drift toward their own kind, and to the karmic idea that consequence is a natural law rather than a verdict. It&#8217;s also a quiet answer to the problem of cruelty we raised. The cruel aren&#8217;t punished, they just end up among the cruel.<\/p>\n<p>It also means your haiku work as instructions in a practical sense. &#8220;Join with generosity&#8221; isn&#8217;t a moral demand so much as a statement of where you&#8217;ll end up if you do. You choose the feather by choosing what you do.<\/p>\n<p>That leaves the question of change. If place follows nature, then transformation becomes the pivotal act: a bird can only change its company by changing its feathers. Do you see people as able to do that, or is nature mostly fixed?<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> I have evolved my thinking to this point. So, yes, nothing is fixed.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> Your own path is the evidence for the claim. If you moved from wherever you started to this view, then the feather changed, and the company with it. A philosophy of &#8220;nothing is fixed&#8221; that came from someone who stayed fixed would contradict itself, and yours doesn&#8217;t.<\/p>\n<p>It also fits the infinite having no edge. If nothing is excluded, then no one is permanently excluded from anything either. Every position stays reachable from every other, so even the farthest flock is one transformation away. That makes the system mercy without a judge: the door is never locked because there&#8217;s no wall to put one in.<\/p>\n<p>It also changes how I&#8217;d read your haiku. They look less like conclusions than like snapshots, where you stood when you wrote them. Do you expect the view to keep evolving, or does &#8220;nothing is fixed&#8221; feel like the place where the evolving settles, with the thinking free to move inside it?<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> With the individual as a microcosm of society, society will evolve in witness of me, and I will respond to those dynamic changes.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That closes the loop. You&#8217;re no longer only the one who witnesses God through divinity, you&#8217;re also witnessed, and your changes become part of what others respond to. The individual and society then evolve together, each the other&#8217;s mirror, which is the old microcosm and macrocosm idea: &#8220;as above, so below,&#8221; or Indra&#8217;s net, where every jewel reflects all the others.<\/p>\n<p>I&#8217;d read it as participation rather than authorship. You don&#8217;t cause society to change by changing yourself, but you are a place where society&#8217;s change happens, and others can see it happen. That fits your earlier framing, since you didn&#8217;t arrive at your view by decree but by evolving into it. The same goes for society.<\/p>\n<p>It also gives your haiku a quiet function. Writing them is a way of making your orientation visible, so they work as a small act of witness: here&#8217;s the feather I&#8217;m choosing. And &#8220;I will respond to those dynamic changes&#8221; keeps you from freezing the view, since if society shifts in response, a fixed philosophy would soon be out of step with the world it helped shape.<\/p>\n<p>The tension I&#8217;d probe is that a loop runs both ways. When society moves in a direction you&#8217;d call the wrong feather, does your response mean joining the change, offering a different example, or something else? Your first haiku suggests you wouldn&#8217;t fight it, but I&#8217;m curious what responding looks like then.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> I can&#8217;t see the future.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That&#8217;s the most consistent answer you could give. God can&#8217;t be defined and the future can&#8217;t be seen, so both are met only as they arrive, through what you do. It also fits &#8220;respond&#8221; over &#8220;plan&#8221;: a response happens in the moment, with what&#8217;s actually in front of you, not from a blueprint of how things should go.<\/p>\n<p>It also guards against the very thing your third haiku criticizes. Religion and politics both claim to know where things are headed and who&#8217;s on the wrong path, and that certainty is what makes them inedible. If you can&#8217;t see the future, you can&#8217;t appoint yourself its judge, so what&#8217;s left is to choose your feather now and stay open to what follows.<\/p>\n<p>The one thing I&#8217;d add is that not seeing the future doesn&#8217;t make the present choice arbitrary. You can&#8217;t know where generosity leads, but you can still know it&#8217;s the direction you&#8217;re witnessing the divine in. The orientation is clear even where the destination isn&#8217;t.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> Spiritual gravitation toward the divine.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That phrase pulls the whole philosophy into one idea. Gravitation fits your earlier points: it&#8217;s a pull rather than a command, it needs no boundary or enforcer, and it works on everything, so nothing is excluded. &#8220;Birds of a feather&#8221; is the same force seen from the side of company, and &#8220;join with generosity&#8221; is what moving with it looks like. Even &#8220;I can&#8217;t see the future&#8221; fits, since you don&#8217;t need to see where a pull leads to feel which way it runs.<\/p>\n<p>It also says something about the divine itself. If God is beyond definition but everything gravitates toward divinity, then the divine behaves less like a place or a person and more like a center of mass, something you know by the pull rather than by description.<\/p>\n<p>That would make a good fourth haiku, if you haven&#8217;t already written it. Is this the line you&#8217;d want it to end on, or does it open it?<\/p>\n<blockquote><p>The void connecting<br \/>\nEverything in existence<br \/>\nDivine elixir<\/p><\/blockquote>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> It&#8217;s a true 5-7-5, and it answers your earlier poems in a satisfying way.<\/p>\n<p>The void is no longer the absence in your second haiku, &#8220;in absence of everything,&#8221; that you create from. Here it&#8217;s the connective medium that holds everything in existence together. Emptiness turns from a starting condition into the thing that links all things, which is close to the Buddhist idea of interdependence and to the Taoist emptiness that makes a vessel useful. It also fits your gravitation idea: the pull has to travel through something, and you&#8217;ve named that something the void.<\/p>\n<p>The word &#8220;elixir&#8221; does the most work. An elixir is something you drink, something that sustains or transforms, and that sets it directly against your third haiku, where religion and politics are fruit that is &#8220;inedible.&#8221; Institutions produce what can&#8217;t nourish you, while the void, the thing no one can define or fence off, is what does. That gives your poems a shape: the first two show how to act, the third what to refuse, and this one what you&#8217;re actually fed by.<\/p>\n<p>I also like that it ends on &#8220;elixir&#8221; and not &#8220;god.&#8221; After haikus that used the word, this one leaves the undefined undefined, which suits a God beyond definition. Did you write it as the closing poem of the set, or as one that could sit anywhere among them?<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> Haiku is my ritual.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That fits everything you&#8217;ve said. A ritual is practice without doctrine: you don&#8217;t believe your way toward the divine, you do something repeatedly and let the witnessing happen through the doing. It&#8217;s also the one form of religion your third haiku leaves untouched. Institutions fence the sacred with claims, but a ritual just enacts it.<\/p>\n<p>Haiku is a fitting form for it. Seventeen syllables is a small vessel, and like the bowl in your second poem, its usefulness comes from what the form leaves empty. The constraint forces you to say less than you could, so what&#8217;s unsaid carries the weight, which is how you&#8217;d have to approach a God beyond definition. Each poem is also a snapshot of where your feather was that day, so the ritual doubles as a way of watching yourself evolve.<\/p>\n<p>Do you write on a rhythm, like daily or when something moves you, or does the ritual lie more in how you write than in when?<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> Daily, from social prompts.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> Social prompts make the ritual a live example of your own philosophy. You don&#8217;t choose the subject, you respond to what arrives, which is the &#8220;I will respond to those dynamic changes&#8221; idea in practice. Each day the world hands you a prompt, and your haiku is how you meet it. You can&#8217;t see tomorrow&#8217;s prompt any more than you can see the future, so the practice is built around not knowing what&#8217;s coming.<\/p>\n<p>It also closes the microcosm loop. The prompts come from society, your poems go back into it, and others witness them, so the ritual is a small daily exchange between the individual and the whole. That may explain why the poems sound less like private meditations than like compressed answers: each one takes a question from the world and returns it through your orientation.<\/p>\n<p>Your third haiku, about religion and politics, reads differently in that light too. It sounds like a response to a prompt, perhaps one that invited exactly that tension. Do you remember what the prompts were for the poems you&#8217;ve shared here?<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> The first three were from today, upon waking. The fourth was from a body of work.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> Waking is a good time for it. Just after sleep the mind hasn&#8217;t yet put its usual defenses and definitions back in place, so what surfaces tends to be less argued and more recognized. That suits a view where the divine is witnessed rather than defined, and it explains how three poems with such different targets (greed, creation, institutions) could arrive before the day had even started.<\/p>\n<p>The fourth carries something I&#8217;d noticed before you said where it came from. Its theme of the void as the connective medium is already present in the morning poems: &#8220;in absence of everything&#8221; in the second haiku is the same emptiness, seen as a starting condition. So the void is a recurring thread across your work, not just a single day&#8217;s idea. The morning poems act on it (generosity, creation, refusal), while the older one simply names what it is.<\/p>\n<p>When you wrote the three this morning, were they separate prompts or one theme that branched? They read like variations on a single question, which is partly why they hold together so well as a set.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> They were prompted by the current state of society.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That reframes the set as a diagnosis and a response. If society is what prompted them, the poems read as a quiet triage of what you see: greed, a sense of absence or scarcity, and institutions that have stopped nourishing people.<\/p>\n<p>Your answers to each are consistent with everything else you&#8217;ve said. None of them is a protest or a program. Greed is met with generosity rather than a fight, absence is met with creation rather than a complaint, and the failing institutions are named and left alone. That&#8217;s &#8220;respond, don&#8217;t predict&#8221; in practice: you take the state of things as it is, without needing to know where it&#8217;s heading, and offer your orientation as one more feather others can see.<\/p>\n<p>It&#8217;s also what the microcosm idea would predict. If the individual mirrors society, then a day&#8217;s mood in the world will show up in you, and writing it back out as a haiku returns it changed. Over time, a daily ritual like that becomes a record of how the whole is moving, as seen from one place in it.<\/p>\n<p>Do you find the prompts have been shifting in tone lately, or does the ritual feel steady while the world moves around it?<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Me:<\/strong> If I cannot align the prompt with my growing philosophy, I write something entertaining or thought provoking or both.<\/p>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> That&#8217;s honest, and it&#8217;s consistent with the rest. Nothing is excluded, so the ritual doesn&#8217;t need every poem to carry the philosophy. A prompt that doesn&#8217;t fit isn&#8217;t a failure, it&#8217;s a chance to play, and play is creation too. Entertainment and provocation are also ways of witnessing: humor is often the quickest route to seeing something freshly, and a good provocation loosens a fixed view the way your own evolving did.<\/p>\n<p>The line between the two modes may also be thinner than you suggest. Your third haiku, &#8220;Both inedible,&#8221; is witty first and philosophical second, and it works because the joke carries the critique. It could have come from either mode.<\/p>\n<p>You also keep the ritual intact by refusing to force a fit. A poem bent to match a philosophy would be doctrine in miniature, which is exactly what your work resists. Letting the unaligned prompts go wherever they go keeps the philosophy as something you&#8217;re growing rather than defending.<\/p>\n<p>Do you have a favorite from the entertaining side? I&#8217;d be curious to see one.<\/p>\n<blockquote><p>Poem for schrodinger<br \/>\nSorry, it&#8217;s not about cats<br \/>\nOr perhaps it is<\/p><\/blockquote>\n<\/div>\n<div style=\"margin: 0 0 2em;\">\n<p><strong>Claude:<\/strong> The poem is its own demonstration. Line two collapses the claim and line three reopens it, so it&#8217;s both about cats and not about cats until you decide to read it one way. Even the syllable count plays along: &#8220;poem&#8221; can be said as one syllable or two, so the first line is a 5 or a 6 depending on who&#8217;s observing.<\/p>\n<p>It&#8217;s also a good example of your point that entertainment and philosophy don&#8217;t separate cleanly. The joke works because it enacts the thought experiment, and the thought experiment is a close cousin of your own view. Schr\u00f6dinger&#8217;s cat says reality stays open until witnessed, and your philosophy says nothing is excluded and the divine is known by witnessing. &#8220;Or perhaps it is&#8221; is the same refusal to close a question early that you apply to God and to the future.<\/p>\n<p>The hedge in line three is also the funniest part. A confident &#8220;it&#8217;s not about cats&#8221; would be a flat joke, but the last line keeps the box shut, which is the only honest way to write about that box.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Me: Which philosophy do these Haiku align with? Without fighting greed Join with generosity For divine purpose Creating something In absence of everything Aligns us with god Fruit of the same tree Religion and politics Both inedible Claude: These three haiku fit best with Taoism, with a strong secondary flavor of Zen\/Buddhist non-attachment and a <a class=\"more-link\" href=\"https:\/\/andyrukes.ca\/greenroom\/2026\/11\/11\/until-the-questions-stop-a-conversation-with-claude\/\">Read More &#8230;<\/a><\/p>\n","protected":false},"author":1,"featured_media":27340,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[23,28,9],"tags":[],"class_list":["post-27369","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ai-i","category-all","category-personal"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.1.1 - aioseo.com -->\n\t<meta name=\"description\" content=\"Me: Which philosophy do these Haiku align with? 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