Category Archives: philosophy

Objectively, There Are, Sometimes, Adjustments

david a kolb

Objectivity, no matter what it is in practice, or within technique, or in philosophical specification, lands always as a sort of brutish given. It is a species of truth claim that is paradoxically about the independent nature of the so-called real object, and also is reliant, even dependent, on a subject having derived this truth claim from perception, mechanical observation, or from all the methods of grasping. Still, objectivity is not an interpretation; oh, it is said to not be so!

The potential for discrepancies between features of the subject’s perceptual impressions and the real qualities of the perceived object generates philosophical questions. There are also philosophical questions regarding the nature of objective reality and the nature of our so-called subjective reality. Consequently, we have various uses of the terms “objective” and “subjective” and their cognates to express possible differences between objective reality and subjective impressions. Philosophers refer to perceptual impressions themselves as being subjective or objective. Consequent judgments are objective or subjective to varying degrees, and we divide reality into objective reality and subjective reality. Thus, it is important to distinguish the various uses of the terms “objective” and “subjective.” (Internet Encyclopedia of Philosophy: Objectivity)

(see also: Stanford Encyclopedia of Philosophy: Scientific Objectivity)

I remember as a thirty-something man–so, sometime ago–Ayer’s Language, Truth and Logic moved me to tears one lunchtime while contemplating the nature of nature from the sun-warmed bank of the Otter Creek, Middlebury, Vermont. The other learning at the time was to finish the book before investing in the emotional reaction!

Soon enough I would find my way to the practicalities of William James. Yet, A.J. Ayer of course goes all the way around his circle too.

Evidently, there is no general answer to the question what constitutes a
meaningful life. A life lived in one culture at a given social and economic level
which satisfies one person might well fail to satisfy another who dwelt in a
different or even in the same environment. Treating the question subjectively one
can say, platitudinously, that it is a matter of the degree to which one achieves self
fulfilment. Treating it objectively, it is a matter of one’s standing in one’s society
and the historical influence, if any, that one exerts. We have seen that the results
of these different viewpoints need not coincide either with each other or with
what we humane and liberal persons would regard as morally commendable. (A.J. Ayer, The Meaning of Life)

 

Since everything is an apparition, "perfect" in being what it is, having nothing to do with good or bad, acceptance or rejection, one may as well burst out in laughter. (Longchenpa)

Since everything is an apparition, “perfect” in being what it is, having nothing to do with good or bad, acceptance or rejection, one may as well burst out in laughter. (Longchenpa)

In common, folk, practice, with respect to the social sphere, objectivity is pragmatically the non-confounding ‘just so’ of commonsense comprehension of the ecology of human objects, structures, regulatory features, and so is graspable as being constituted by the clear description, the sensible abduction (or explanation,) the operational model (or map) of mechanical interrelationships, and, at the extreme where objectivity quickly fades into intersubjectivity, the shared truths or norms. These latter elements also reflect a hypostasis of collective interpretation, and churn the just so into the good enough. Not everybody need be in agreement on these, now, subjective, matters.

We recognize that objectivity-proper doesn’t need to come up much. Our sight and cognition is fairly dependable once it is well understood what interpretation tends to cloth perception “in.”

For example, it could be observed that the Free Play Softball League meets around 10am on Sunday. A dude looks over the roster of players who have showed up and starts to design line-ups on a piece of notebook paper. Thinking  of a more particular recent instance, this same dude could be observed to have made an adjustment to the line-ups midway through the game.

(I suppose we’ll have to make an inquiry to learn why the dude did so.)

Still, such goings-on are clearly and objectively aspects of the game. Such goings-on may be observed, described, explained, as objective parts of the game.

The dude last Sunday was very pleased, and this was observable, at the conclusion of the game. It reflected a tally of runs. Dude liked the tie score. He could be seen to be smiling.

A 1-2-0-7-0-5--15
H 2-0-3-6-3-1--15

 

 

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Discrete Charms

Admit something:
everyone you see, you say to them: “love me.”
Of course you do not do this out loud; otherwise
someone would call the cops.
Still, though, think about this, this great pull in us
to connect.

Why not become the one who lives with a full moon
in each eye that is always saying,
with that sweet moon language,
what every other eye in the world is dying to hear?

(Hafiz)

Thus Adam might have called the animals “by their own names” in two senses. Either he gave them the names that, by some extralinguistic right, were already due them, or he gave them those names we still use on the basis of a convention initiated by Adam. In other words, the names Adam gave the animals are either the names that each animal intrinsically ought to have been given or simply the names that the Name Giver arbitrarily and ad placitum decided to give them. (Umberto Eco, Serendipities, Language and Lunacy)

Natalie Johnson Dance presents: AGEN, Sunday 1:30pm, March 2017 from Natalie Johnson Dance on Vimeo.

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Make It All Up

res obscura


Iain McGilchrist

Epistemology establishes how we understand reality, what we believe the world to be made up of. If library directors do not have a way of knowing what is, how are they to know how to act in a time of crisis? (Phenomenology, Aesthetics, and Planning for the Artful Library Director, Kenneth Warren, 2014)

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As If, a yoga of the practice of irony in a cosmos of contingency


A leading moral and political philosopher, Kwame Anthony Appiah is Professor of Philosophy and Law at New York University. He explores the ideas of the philosopher Hans Vahinger, who argued that our theories of the world involved understanding things “as if” what is in fact false were true.

Vaihinger

via: http://gradlectures.berkeley.edu/lecture/

I had begun this article with reference to Hans Vaihinger’s examination of the two simple words, as-if, which he posits as a fictive device. Until I read his book I was completely unaware that I used them in daily life. Once I did, I couldn’t get as-if out of my mind. Not only that, I found it was fascinating to observe how other people used these words. When I asked if they were aware of the fact, invariably the answer was no. Nevertheless, once they did, they were delighted at finding a treasure right under their noses. From these observations I gathered that the various ways we employ as-if reflects a desire to step outside the routine of daily life, the easiest way being to entertain fanciful thoughts. Such thoughts aren’t to be dismissed outright as a waste of time. If we were asked about them, we’d respond that they constitute an important part of our lives, indeed, are essential to our psychic health. At the same time these thoughts have basis in reality–they arise from experiences in real life–and can reflect our deepest desires. excerpt Some Reflections on Hans Vaihinger (Richard McCambley)

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Too Schematic, Nevertheless, Livingry

RBF-Livingry

You don’t think Buckminster Fuller’s idea that the problem is just one of mismanagement and lack of distribution and lack of intelligent use of the available energy makes sense?

GB:I don’t really believe that, no. Because I don’t think the problem is primarily an energy problem. I think it is much more a minor constituents problem. All the other things you need in your food besides calories, practically every element in the table: vitamins, phosphorus, mineral components, so on. These are much more awkward than energy.
And that has to do with complexity.
GB:Has very much to do with complexity, has to do with things being in a scattered state in the world. What we do is to comb the surface and concentrate them. Then having concentrated them, we put them in places where we will never be able to get them back again.
In that light, can you relate Buckminster Fuller to the notion of purpose?
GB:I can relate Buckminster Fuller very easily to the notion of purpose. Have you ever worked on geodesic domes?
Yes, they leak.
GB:They leak, that’s right. Why do they leak? Because they are much too purposive. Because they’ve got no tolerance. The only purpose of a dome is to be a dome.
The people who build them think their purpose is good residence.
GB:I know all that, but Bucky doesn’t have any idea what living in something is like.
After all, he lives in airplanes, he says.
GB:That’s probably right. But those bloody domes are a very good paradigm for the whole of engineering adaptation.
You might be interested to know that one of the fellows who developed the dome idea at first and who published a number of books, gave it up completely, and went through a long drawn-out ethnological survey of living quarters all over the world, and has decided that the whole approach was much too schematic.
GB:Much too schematic. Straw is much better material to make houses with. Straw and mud make quite good houses.

(A Conversation with Gregory Bateson. Loka: A Journal of Naropa Institute (1975) Garden City, NY: Anchor Press/Doubleday)

The Sun

bonus: Evonomics: The Next Evolution of Economics

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Stirring Together, In the Midst of the Unending Stream

I traced a circle on the ground,
It was a mystic figure strange
Wherein I thought there would abound
Mute symbols adequate of change,
And complex formulas of Law,
Which is the jaws of Change’s maw.
My simpler thoughts in vain had stemmed
The current of this madness free,
But that my thinking is condemned
To symbol and analogy:
I deemed a circle might condense
With calm all mystery’s violence.
And so in cabalistic mood
A circle traced I curious there;
Imperfect the made circle stood
Thought formed with minutest care.
From magic’s failure deeply I
A lesson took to make me sigh.

Alexander Search (Fernando Pessoa)
July 30th. 1907. [1]

artist Stephen Calhoun b1954 USA

Twin Study I. (2016) Stephen Calhoun

“I have always been particularly interested to see how people, if left to their own devices and not informed about the history of the [Mandala] symbol, would interpret it to themselves. I was careful, therefore, not to disturb them with my own opinions and as a rule I discovered that people took it to symbolize themselves or rather some- thing in themselves. They left it as belonging intimately to themselves as a sort of Creative background, a life-producing sun in the depths of the unconscious mind. Though it was easy to see that it was often almost a replica of Ezekiel’s vision, it was very rare that people recognized the analogy, even when they knew the vision -which knowledge, by the way, is pretty rare nowadays.” C.G. Jung, The Terry Lectures

Gemini with respect to psyche, broadly conceived, brings into ‘co-motion’ the regressive chthonic and the transgressive totality. At a higher, finer grain, the twin–as image–represents the prospect of the alchemical marriage. As Gemini, its transformative operations take up scattered elements and brings these back into order.

The Twin is the archetype of recursion. With this repetition, the twin holds the potential for any reassembly, be it playful or serious or trial-and-error. The gesture bends back. Its sound is the yielding reassembly of harmony, via sonic palintropos.

Overnight contents separate, and come to be stirred back together. Gemini.

Cleveland artist Stephen Calhoun

Twin Study II. (2016) Stephen Calhoun

What gets hatched at night, in the lunar phase?

Sometimes the organic pair is subject to fierce moralizing. For example, what of the facile distinction oft made between thinking and feeling, or, head and heart? Their deep structure is blanketed. Heavy associations weigh one of the poles down, like a cinder block tied to a victim’s ankles.

This is like mashing two things together, pulling them back apart, and, finally deciding one has to go! The shadow of the twin is found in the demonization and suppression of the organic opposite, in the making of, and, next, sanctioning against this fallen angel, and finally turning it out (or away.)

(Gemini forensics! Where is the antimony buried?)

A theory of recurrence, such as that of Yeats, in exemplifying the cycling between lunar Antithetical and solar Primary tinctures is a twin study. Fusion with the ideal, and disavowal of the organic opposite provides for the violent dismissal and covering over of this other side.

Where feeling reigns ‘apart,’ this may move vast numbers of voters toward the light cast by the idealized father, concretized to be, well. . .

rather

Leaving, returning. Turning back. . .

[2]

Uncovering bends back the cover.

They do not understand how, though at variance with itself, it agrees with itself. It is a backwards-turning attunement like that of the bow and lyre. -Heraclitus

It lifts up the buried: part, aspect, inferior. The twin is at once separate and a unifier.

Gemini’s hidden holistic relationship to all the houses, tracks the pairings which are the relations discoverable in all projections. Cast from to you.

The phenomena of the twin anchors the resurrection and recovery of the opposites.


see:
The Rhizome and the Flower: The Perennial Philosophy, Yeats and Jung, By James Olney

The Harmonia of Bow and Lyre in Heraclitus Fr. 51 (DK)
Jane McIntosh Snyder, Phronesis Vol. 29, No. 1 (1984) JSTOR

[1] Sacred Geometry of Being: Pessoa’s Esoteric Imagery and the Geometry of Modernism
Patrícia Silva McNeill, Pessoa Plural 6, 2014 (pdf)

[2] Beyond Fascism: W.B. Yeats’s A Vision and the Complexities of His Authoritarian Politics
Justin Abel, Eastern Washington University (pdf)

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A Magic Trick: Explain By Creating

In trickster’s case, how did mental fakery come to replace incarnate fakery?

It is one thing for trypanosomes to change their skins; another for Raven to become a leaf floating in spring water; another still for storytellers to have imagined Raven in the first place, or for one of us to reimagine him. Before picking these strands apart, however, we should remember that the mythology itself asks us to confuse them. Coyote stories point to coyotes teaching about the mind, the stories themselves look to predator-prey relationships for the birth of cunning. These myths suggest that blending natural history and mental phenomena is not an unthinkable conflation, but on the contrary, an accurate description of the way things are. To learn about intelligence from Coyote the meat thief is to know that we are embodied thinkers. If the brain has cunning, it has it as a consequence of appetite; the blood that lights the mind gets its sugars from the gut.
-Lewis Hyde, Trickster Makes This World: Mischief, Myth, and Art.

Creating Is Explaining

in Jonas, see (*) below

The subject becomes a game that hides through and in his cause from his cause, the (external) precondition laying bare the (internal) foundation. – Julie Kristeva

FB-Wild-Dialog

The tracking that any [image] instrumentalizes is an adventure that is always immediate, happening now, registering the dynamics of belief.

(adapted, substituting |image| for |text|) via, -Elaine Jahner, “Trickster Discourse and Postmodern Strategies.”)

Stephen Calhoun, Cleveland artist experimental photographer

The Jester (2016) Stephen Calhoun

“Play around with it, intentionally.” That would be the clue. I’m wandering around the following: participation, experience of art, play, cleverest trick.

If you could give up tricks and cleverness, this would be the cleverest trick! (version of Rumi, John LeMoyne)

An example of a clever trick in the experience of art is any expert critical opinion that is by (socially-constructed) necessity blinded to, unbounded from, the actuality of the embodied knowing which emerges from consciousness being aware and present as a matter of experiencing art, or, experiencing any ‘scene,’ so-to-speak.

Opinions like this are like standing at the end of the diving board and not wanting to dive in.


Do playful systems know that they play? [pdf]
Michael Straeubig, Plymouth University
The Philosophy of Computer Games Conference, Malta 2016

From autopoiesis to neurophenomenology: Francisco Varela’s exploration of the biophysics of being [pdf]
Antoine Lutz, et al 2003

Toward a neurophenomenology as an account of generative passages: A first empirical case study [pdf]
Antoine Lutz
LENA – Neurosciences Cognitives et Imagerie Cérébrale 2002

(*) A cybernetic model of design research: Towards a trans-domain 1 of knowing
Wolfgang Jonas, The Routledge Companion to Design Research 2014

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Unities

Mind-Reading Cartoon

One is the loneliest number that you’ll ever do
Two can be as bad as one
It’s the loneliest number since the number one

No is the saddest experience you’ll ever know
Yes, it’s the saddest experience you’ll ever know

‘Cause one is the loneliest number that you’ll ever do
One is the loneliest number, whoa-oh, worse than two

It’s just no good anymore since you went away
Now I spend my time just making rhymes of yesterday

One is the loneliest number
One is the loneliest number
One is the loneliest number that you’ll ever do

One is the loneliest
One is the loneliest
One is the loneliest number that you’ll ever do

It’s just no good anymore since you went away

(Number)
One is the loneliest (number)
One is the loneliest (number)
One is the loneliest number that you’ll ever do

Nillson/Edwards

Stephen Calhoun artist

I’ve been making mandalas. This represents a regression in both the terms of psyche, and, my own growing artistry. This is a local reconfiguration for the sake of doing different experiments concerned with the singularity given by the whole “O,” the eye, the core, the centrifugal oneness. Empirically, mandalas don’t grip the viewer for the same reasons a complex work chock full of partially hidden patterns and relations grip someone. Yet, as the dictionary tells us, mandala means magical circle.

http://artiststephencalhoun.com/image-sets-and-series/mandalas/

Yet, everybody at times enjoys partaking of some regression! Going backward sometimes means moving back in time toward innocence, or moving to a previous point at which point the bad mojo had not arrived, or been elected.

Mandalas are the warm blanket of the world of created manmade forms.
My mandalas…

Read more: Three Dog Night – One (is The Loneliest Number) Lyrics | MetroLyrics

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Tying It All Together?

I am sometimes asked why I pay attention to astrology. Actually, I don’t pay much attention to it, but, for some, any attention paid to astrology begs the question of why a so-called pseudoscience could attract someone’s, or my own, attention.

If I sense that this question is hiding the questioner’s desire to hold me to some rational account, I have a tried-and-true response.

You do understand that as matter of a priori development with respect to Baconian science and its successors that astrology is demonstrably necessary to the later development of astronomy and cosmology?

The history of the development of stuff presents a chain of primitive precedents, and, over the span of a future, our current knwoledge might well be someday viewed as being itself primitive. This goes along with what I call my favorite bias, you know the one that captures the brute fact that as one figuratively steps backward in time, all precedents of any sort disappear.

(The epistemic value or utility of astrology in any of its useful forms is determined as a matter of a psychology of practical heuristics. As I have previously written, the astrological chart captures a projection of psyche inasmuch as dealing with its information invokes learning about the Self.)

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drawn or repulsed, instant realization of sympathy or antipathy

TOOLS OF IMAGINATION from Kristyna on Vimeo.

I like mathematics because it is not human and has nothing particular to do with this planet or with the whole accidental universe – because like Spinoza’s God, it won’t love us in return. ~Bertrand Russell, 1912

4SymbolsofYWHY

1.01 'Circles Within Circles' from Simon F A Russell on Vimeo.

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Creative Fire

In this second volume of The Sparks of Randomness, The Atheism of Scripture, Henri Atlan pursues his investigation of human life, which he grounds in a distinctive intermingling of the biological and cognitive sciences and traditions of Jewish thought. The Atheism of Scripture offers up a paradox: its audacious thesis is that the Word or revealed scripture can be better understood without God. It must be decrypted or analyzed atheistically, that is, not as divine revelation, but in and of itself.

The Sparks of Randomness, Volume 1: Spermatic Knowledge (Cultural Memory in the Present) Amazon

What does it mean to be the being observer?

[General Complexity] draws its epistemological implications from the point of view of the subject who knows: complexity would compose a “new paradigm” (Morin, 1977) or “new alliance” (Prigogine and Stengers, 1979), which is potentially transdisciplinar. Therefore it gives a theoretical account of the properties of self-organization and autonomy of the physical, biological, and social systems from the perspective of the process of their observation. Complexity would express the extent of ignorance of an observer who is unaware of the information of the observed system itself (Atlan, 1979) and the process of “construction” (von Foerster, 1981) of an external object that is unattainable by the cognitive system of a subject. It is characterized more by their own “operational closure” and “internal consistency” (Varela, 1979) than by the faithful representation of the external reality. This approach, going back to the historic Macy Conferences (1946-1953) on Cybernetics (Dupuy, 2000), was widely developed in the 70s since the transition from a “first-order cybernetics” or cybernetics of observed systems (Wiener, 1948) to a “second-order cybernetics” or “cybernetics of observing systems” (von Foerster, 1981). A. Malaina, 2015

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Missing Contingency

Ouroboros (Stephen Calhoun - 2016)

Ouroboros (Stephen Calhoun – 2016)

This motivational tendency is a creative process through which the agent approaches new solutions, and enacts new meanings (Arnellos et al. 2007). As we have argued so far, aesthetic emotions provide the agent with the capacity to enact even before learning, by assigning values to current interactive conditions as pro- visions of the enacted meaning. Thus, aesthetic experience motivates the agent to avoid situations, for which the valuative signals are negative (or aversive), and to seek situations for which those signals are positive (or rewarding). This is what we call motivational tendency of aesthetic experience. Accordingly, we suggest that a minimal aesthetic experience should be considered as an aesthetic emotional eval- uation that forms an anticipation for a certain interaction, thereby reducing the interactive uncertainty. Aesthetics as an emotional activity that facilitates sense-making: Towards an enactive approach to aesthetic experience (Ioannis Xenakis and Argyris Arnellos)

Richard Shusterman – Somaesthetics Youtube

I believe that philosophical thinking is not confined to professional philosophers with Ph.D.’s in this subject. This brings me to a further point about the somaesthetics-philosophy relationship. If we conceive philosophy broadly as an ethical art of living that is guided by critical inquiry aimed to promote a more aesthetically satisfying form of life for both self and society, then the various disciplines and forms of knowledge that contribute to this art of living (even if they are not distinctively or professionally philosophical) can be related to the broad philosophical project of the quest for wisdom in how to live better lives. Somaesthetic research in forms outside the normal disciplinary bounds of philosophy surely can contribute to this overarching philosophical project. Interview: Richard Shusterman in Budapest

Somaesthetics at www.interaction-design.org, Encyclopedia of Human Computer Interaction

Richard Shusterman on Somaesthetics and the Middle Way

Cube-O-Probe: Point to clues about the circuit of, Body / Serendipity / Creative Process

CUBEOPROBE-aesthetics

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Thick Over Thin, Beyond the Need to Know, Deep Digging

Stephen Calhoun artist

twitter meme series via @sq1learning aiming to cause thinking/feeling

If one wants to get to the absolute bottom of something, presumably for many kinds of human somethings, the journey to reach the bottom will:

(1) take time
(Rule of thumb: if it seems like it will take too much time, you’re at the start of the right path)

[paradoxical dialectic #1]
(2) demand suspension of reactions
(3) cause encounters which elicit antipathy and sympathy

(4) require configuration of viable abductions at ‘ripe’ waystations (during the journey)

[paradoxical dialectic #2]
(5) be advantaged by one feeling through one’s self feeling through the subject
(6) be advantaged by enacted agency removed from the subject’s ideology/personal culture

(7) be advantaged by researcher’s understanding of the imposition provided by their own ideology

(8) be completed by the invocation and instantiation of negative capability

These dispositional elements support deliberate knowing (learning) and stand against the varieties of thin approaches, each of which is anchored in a singular routine to obtain, ‘not really needing to know much more than I can easily know without spending more time, and certainly not challenging myself to learn more–beyond where I habitually like to stop learning.’

(Substitute satisfyingly for habitually to capture the reflexive certainty, “know enough already, thank you!” Enough is equivalent to knowing all one needs to know.

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Morphing Fractals

Eternal One, Mighty One, Holy El, God autocrat self-originate, incorruptible, immaculate, unbegotten, spotless, immortal,
self-perfected, self-devised,
without mother, without father, ungenerated,
exalted, fiery,
just, lover of men, benevolent, compassionate, bountiful,
jealous over me, patient one, most merciful.
Eli, eternal, mighty one, holy, Sabaoth,
most glorious El, El, El, El, Iaoel,
you are he my soul has loved, my protector.
Eternal, fiery, shining,
light-giving, thunder-voiced, lightning-visioned, many-eyed… (The Apocalypse of Abraham 17.8-15)

Dionysian art […] is based on the play with intoxication/ecstasy [Rausch], with rapture [Verzu?ckung]. There are two powers in particular that trigger the self-for-gotten ecstasy [Rausch] of the nai?ve man of nature — the drive of spring and the narcotic drink. Their impacts are symbolized by the figure of Dionysus. The principium individuationis in both states is broken; the subjective disappears entirely against the force of the general-human, even the general-natural that is breaking forth. The festivals of Dionysus do not only create a bond between humans, they also reconcile the human with nature. -Friedrich Nietzsche

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Body Acting Virtually I.

Interaction-Design.org Youtube channel

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Silence, Healing

Heraclitus Throws Down

Failure does not matter in life. To a progressive person even a thousand failures do not matter. He keeps success before his view, and success is his even after a thousand failures. The greatest pity is when life comes to a standstill and does not move any further; a sensible person prefers death to such a life. (Pir Inayat Khan)

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Floating Gestures

IDEO: Each sphere is equipped with inertial motion sensors—acceleration, rotation, and the Earth’s magnetic fields—enabling the spheres to act as a gestural musical interface. The gestures are interpreted through machine learning and used to control an evolving soundscape.

via Synthtopia

taches (excerpt)

taches
to obscure
to reject
to uninhabit
to destabilise
to be reborn
to erase
to pin down
to spill memory
to depart

coda: “I was possessed by movements, on edge with these forms which came to me rhythmically.”

Henri Michaux

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Moral Perception

Paysage avec Orion aveugle cherchant le soleil - Nicolas Poussin -  1658

Paysage avec Orion aveugle cherchant le soleil – Nicolas Poussin – 1658

What can we learn from Buddhist moral psychology? Jay L. Garfield (excerpt from Engaging Buddhism: Why it Matters to Philosophy

It is hard to avoid the conclusion that perception itself is morally charged. If I see women as tools, or Latinos as fools, the damage is done. That perception involves the formation of intentions that are morally problematic on their face, and that lead to harms of all kinds. Perceiving in that way makes me a morally reduced person. If, on the other hand, I perceive people as opportunities to cooperate, or to provide benefit, I perceive in a way that involves the construction of morally salutary intentions, good on their face, and productive of human goods. For this reason, much Buddhist ethical discourse eschews the articulation of duties, rules or virtues, and aims at the transformation of our mode of perceptual engagement with the world. Moral cultivation, on this view, is the cultivation of a way of seeing, not in the first a instance a way of acting.

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Pragmatic Turning

On February 13, 2013, Richard J. Bernstein, the 2013 Selzer Visiting Philosopher gave this lecture at Beloit College. Dr. Bernstein is the Vera List Professor of Philosophy at The New School for Social Research.

The standard philosophical conventions that divide philosophy into such “schools” as pragmatism, analytic philosophy and Continental philosophy obscures [their] common pragmatic themes. Once these ideological blinders are removed, the philosophical investigations of the classical pragmatists, Heidegger, and Wittgenstein take on a fresh and more
exciting character. If we bracket the standard and misleading philosophical classification and look at what these philosophers are actually saying and doing, then a very different panorama emerges. We discover commonalities in what pragmatists, Wittgenstein and Heidegger are all reacting against, in their critique of traditional epistemology and metaphysics, and especially in the sea change in philosophical orientation that they seek to bring out. The Pragmatic Turn, 2010

Richard Rorty: RR: [There have been in our century] three conceptions of the aim of philosophizing. They are the Husserlian (or ‘scientistic’) answer, the Heideggerian (or ‘poetic’) answer, and the pragmatist (or ‘political’) answer.

In the comments section attached to this video is a fundamentalist’s view: I just to want to know “Did our Prophet and his companion ever dance like this way to call almighty Allah” If yes, what is the proof?. If not, this is an innovation. Prophet (PBUH) said, every innovation is misguidance , and every misguidance leads to Jahannam / hell fire.” ?

As Bernstein argues in his book, Violence: Thinking Without Banisters, religious certainty is naturally violent.

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By Hand

A Thousand Hands Ago from S Ensby on Vimeo.

The dramatic form is reached when the vitality which has flowed and eddied round each person fills every person with such vital force that he or she assumes a proper and intangible esthetic life. The personality of the artist, at first a cry or a cadence or a mood and then a fluid and lambent narrative, finally refines itself out of existence, impersonalizes itself, so to speak. The esthetic image in the dramatic form is life purified in and reprojected from the human imagination. The mystery of esthetic, like that of material creation, is accomplished. The artist, like the God of creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails.—Stephen

—Trying to refine them also out of existence—said Lynch.

A fine rain began to fall from the high veiled sky and they turned into the duke’s lawn to reach the national library before the shower came.

—What do you mean—Lynch asked surlily—by prating about beauty and the imagination in this miserable Godforsaken island? JAmes Joyce, Portrait of An Artist As a Young Man

[Wikipedia] Microcosmos (original title Microcosmos: Le peuple de l’herbe — Microcosmos: The grass people) is a 1996 documentary film by Claude Nuridsany and Marie Pérennou and produced by Jacques Perrin. Set to the music of Bruno Coulais, this film is primarily a record of detailed interactions between insects and other small invertebrates.

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