How, then, should a philosopher grapple with bullshit? Frankfurt undertakes a careful review of the term’s meanings in ordinary usage. But his own method is to define the concept primarily by reference to the process (“bullshitting”) rather than the product. He emphasizes the difference in intentionality between a liar and a bullshitter.  A liar is engaged, obviously, in misrepresenting the truth about something. “Telling a lie is an act with a sharp focus,” as Frankfurt puts it. The liar must carefully determine just how much to distort, conceal, and fabricate in order “to insert a particular falsehood at a specific point in a set or system of beliefs, in order to avoid the consequences of having that point occupied by the truth.” For a liar to frame his lie halfway plausibly (let alone, get away with it), actually requires a fairly exacting degree of lucidity about truth and consequences. More so, at any rate, than the bullshitter need manage. “It is impossible for someone to lie unless he thinks he knows the truth,” writes Frankfurt. “Producing bullshit requires no such conviction.” The bullshitter enjoys a level of freedom and creativity worthy of the Nietzschean superman: “His focus is panoramic rather than particular. He does not limit himself to inserting a certain falsehood at a specific point, and thus he is not constrained by the truths surrounding that point or intersecting it. He is prepared to fake the context as well, so far as need requires.” Not by accident do we refer to someone with a peculiar gift for this as a “bullshit artist,” for “the mode of creativity upon which it relies is less analytical and less deliberative than that which is mobilized in lying. It is more expansive and independent, with more spacious opportunities for improvisation, color, and imaginative play.” It also corrodes the mind’s necessary power of “attending to the way things are…By virtue of this, bullshit is a greater enemy of truth than lies are.”