These craftsmen did not relax their thoughtful self-discipline even with respect to features of their work that would ordinarily not be visible. Although no one would notice if those features were not quite right, the craftsmen would be bothered by their consciences. So nothing was swept under the rug. Or, one might perhaps also say, there was no b

Now assuming that Wittgenstein does indeed regard Pascal’s characterization of how she feels as an instance of bullshit, why does it strike him that way? It does so, I believe, because he perceives what Pascal says as being—roughly speaking, for now—unconnected to a concern with the truth. Her statement is not germane to the enterprise of describin

In an entry for bull as so used, the OED suggests the following as definitive: “trivial, insincere, or untruthful talk or writing; nonsense.”

Her fault is not that she fails to get things right, but that she is not even trying.

The statements made in a bull session differ from bullshit in that there is no pretense that this connection is being sustained. They are like bullshit by virtue of the fact that they are in some degree unconstrained by a concern with truth. This resemblance between bull sessions and bullshit is suggested also by the term shooting the bull,

It may be noted that the inclusion of insincerity among its essential conditions would imply that bull cannot be produced inadvertently; for it hardly seems possible to be inadvertently insincere.

It does seem fitting to construe carelessly made, shoddy goods as in some way analogues of bullshit. But in what way? Is the resemblance that bullshit itself is invariably produced in a careless or self-indulgent manner, that it is never finely crafted, that in the making of it there is never the meticulously attentive concern with detail to which

He construes her as engaged in an activity to which the distinction between what is true and what is false is crucial, and yet as taking no interest in whether what she says is true or false.

However studiously and conscientiously the bullshitter proceeds, it remains true that he is also trying to get away with something. There is surely in his work, as in the work of the slovenly craftsman, some kind of laxity that resists or eludes the demands of a disinterested and austere discipline.