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Quote by Innocent Mwatsikesimbe

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The Reason

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Innocent Mwatsikesimbe

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“Nguvu za hasi ni mawazo mabaya, na nguvu za chanya ni mawazo mazuri. Nguvu za hasi ni Shetani, kwa vile Shetani ndiye anayeleta mabaya. Nguvu za chanya ni Mungu, kwa vile Mungu ndiye anayeleta mazuri. Katika dunia hii utapambana na Shetani lakini hutamshinda, kwani hapa ndipo anapotawala. Pambana na Shetani katika dunia ya kiroho, kwa maana ya maombi na utiifu kamili kwa Mwenyezi Mungu, kama unataka kuzishinda nguvu zake.”

WorldEvilGoodObedienceSatanPrayersGood ThoughtsDuniaShetaniEvil ThoughtsMwenyezi MunguGod AlmightyMabayaSpiritual WorldMaombiMazuriDunia Ya KirohoNegative ForcesNguvu Za ChanyaNguvu Za HasiPositive ForcesMawazo MabayaMawazo MazuriUtiifu
Author:Enock Maregesi
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“Mungu hakutuumba ili tuwe roboti, ambayo hufanya kazi kama ilivyoelekezwa. Alituumba ili tuwe huru. Yaani, tuwe na uwezo wa kuchagua mema au mabaya – ndiyo maana akaweka Mti wa Maarifa ya Mema na Mabaya katika Bustani ya Edeni – ndiyo maana akamtuma Shetani kuwajaribu Adamu na Hawa, wazazi wetu wa kwanza.”

GodEvilCapacityGoodParentsSatanFreeMunguGarden Of EdenShetaniRobotUwezoMabayaMemaWazaziHuruBustani Ya EdeniMti Wa Maarifa Ya Mema Na MabayaOur First ParentsWazazi Wetu Wa KwanzaRoboti
Author:Enock Maregesi
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“Every dictator is a mystic, and every mystic is a potential dictator. A mystic craves obedience from men, not their agreement. He wants them to surrender their consciousness to his assertions, his edicts, his wishes, his whims—as his consciousness is surrendered to theirs. He wants to deal with men by means of faith and force—he finds no satisfaction in their consent if he must earn it by means of facts and reason. Reason is the enemy he dreads and, simultaneously, considers precarious; reason, to him, is a means of deception; he feels that men possess some power more potent than reason—and only their causeless belief or their forced obedience can give him a sense of security, a proof that he has gained control of the mystic endowment he lacked. His lust is to command, not to convince: conviction requires an act of independence and rests on the absolute of an objective reality. What he seeks is power over reality and over men’s means of perceiving it, their mind, the power to interpose his will between existence and consciousness, as if, by agreeing to fake the reality he orders them to fake, men would, in fact, create it.”

GovernmentReligionEvilFreedomLibertyVirtueMoralityEthicsLibertarianSocialismCommunismAnarchyAggressionRationalityCoercionSuperstitionCollectivismStateStatismVoluntaryismIrrationalityObjectivismNon Aggression PrincipleAncapAnarcho CapitalismNap
Author:Ayn Rand
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“The Oscar-nominated documentary The Act of Killing tells the story of the gangster leaders who carried out anti-communist purges in Indonesia in 1965 to usher in the regime of Suharto. The film’s hook, which makes it compelling and accessible, is that the filmmakers get Anwar —one of the death-squad leaders, who murdered around a thousand communists using a wire rope—and his acolytes to reenact the killings and events around them on film in a variety of genres of their choosing. In the film’s most memorable sequence, Anwar—who is old now and actually really likable, a bit like Nelson Mandela, all soft and wrinkly with nice, fuzzy gray hair—for the purposes of a scene plays the role of a victim in one of the murders that he in real life carried out. A little way into it, he gets a bit tearful and distressed and, when discussing it with the filmmaker on camera in the next scene, reveals that he found the scene upsetting. The offcamera director asks the poignant question, “What do you think your victims must’ve felt like?” and Anwar initially almost fails to see the connection. Eventually, when the bloody obvious correlation hits him, he thinks it unlikely that his victims were as upset as he was, because he was “really” upset. The director, pressing the film’s point home, says, “Yeah but it must’ve been worse for them, because we were just pretending; for them it was real.” Evidently at this point the reality of the cruelty he has inflicted hits Anwar, because when they return to the concrete garden where the executions had taken place years before, he, on camera, begins to violently gag. This makes incredible viewing, as this literally visceral ejection of his self and sickness at his previous actions is a vivid catharsis. He gagged at what he’d done. After watching the film, I thought—as did probably everyone who saw it—how can people carry out violent murders by the thousand without it ever occurring to them that it is causing suffering? Surely someone with piano wire round their neck, being asphyxiated, must give off some recognizable signs? Like going “ouch” or “stop” or having blood come out of their throats while twitching and spluttering into perpetual slumber? What it must be is that in order to carry out that kind of brutal murder, you have to disengage with the empathetic aspect of your nature and cultivate an idea of the victim as different, inferior, and subhuman. The only way to understand how such inhumane behavior could be unthinkingly conducted is to look for comparable examples from our own lives. Our attitude to homelessness is apposite here. It isn’t difficult to envisage a species like us, only slightly more evolved, being universally appalled by our acceptance of homelessness. “What? You had sufficient housing, it cost less money to house them, and you just ignored the problem?” They’d be as astonished by our indifference as we are by the disconnected cruelty of Anwar.”

EvilCompassionViolenceEmpathyHomelessness
Author:Russell Brand
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“You see, Risa, survival is a dance between our needs and our consciences. When the need is great enough, and the music loud enough, we can stomp conscience into the ground.' Risa closes her eyes. She knows the dance... 'It's the way of the world,' Divan continues. 'Look at unwinding, society's grand gavotte of denial. There will, no doubt, come a time when people look to one another and say, 'My God, what have we done?' But I don't believe it will happen any time soon. Until then, the dance must have music; the chorus must have its voice. Give it that voice, Risa. Play for me.' But Risa's fingers offer him nothing, and the Orgao Organico holds the obdurate, unyielding silence of the grave.”

EvilConscienceIdealismSociety Denial
Book:UnDivided
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