Gaber Charles Bukowski, Sartre: freedom and responsibility
"Man, being condemned to be free carries the weight of the world on his shoulders : he is responsible for the world and of oneself as a way of being. Take the word "responsibility" in the banal sense of "consciousness of being the incontestable author of an event or object." In this sense, the liability of for-itself is very serious, because the one that you be, whatever situation he is in, the for-itself must take full situation with its coefficient of adversity, even if it were unsustainable [...].
E 'so foolish to think of regret because nothing foreign has decided what we feel, what we live or what we are. What happens to me, happens to my work and I could not grieve turning neither in nor resign. On the other hand everything that happens to me is my : with this we must understand that they are always up to what happens to me, as a man, because what happens to men for work of others and oneself that can not be human. There are inhuman situations, it is only out of fear, flight behavior and use of magic decide interment, but this decision is human and bear all the responsibility [...].
There are no accidents in life, a social event that breaks out suddenly and is not dragging me from the outside if they are mobilized in the war, this war is my . Having not taken away, I choice. There was no constraint because the constraint can not have any grip on freedom: I had no excuses because the quality of its human reality-is to be no excuses [...].
So, totally free, I must be no regrets nor remorse as they are without excuse, because from the moment of my birth being, carry the weight of the world alone with nothing nor anyone can lighten it. "
The two voices that I proposed last speaker of this year apparently are in opposition to each other, but in the end represent duplicate references to individual responsibility that we would do well never to forget. On the one hand, Gaber notes bitterly that freedom di pensiero e parola di cui godiamo oggi è inconsistente poiché è schiacciata dall'isolamento, dall'emarginazione, dalle barriere erette fra quegli stessi uomini che dovrebbero, sulla carta, costituire una comunità.
Dall'altro, Sartre ci richiama alla strutturale condizione di dover decidere nella nostra esistenza di noi stessi. Condizione ineludibile, in quanto anche il rifiuto di decisione o la volontà di sottrarci col suicidio sono sempre delle possibilità rese tali dal nostro essere-nel-mondo.
E allora, come uscire da questo vicolo cieco? Come rendere, quantomeno, più accettabile questo mondo dove la fanno da padrone disparità ed ingiustizie?
Ce lo ha già ricordato Gaber.
Thursday, December 23, 2010
Thursday, December 16, 2010
Lord Of The Rings Stream
Hello, I'm back from the days stressantissime ultumi of these days! my little (4 years) students of ballet and modern dance was attended yesterday's event telethon along with my students and me the biggest and many other guests do not imagine the stress to organize everything! cmq ... to relax this morning I created this necklace in shades of burgundy these pearls are the same material breach of the pearls of the necklace of the previous post I like very much and I still use a lot, I find them suitable for winter what do you think??
Wednesday, December 15, 2010
Good Dancing Songs For A Talent Show 2010
Pasolini and politicians
The events (or rather the vicissitudes) policies of the past few days require a short reflection. We can not remain indifferent or helpless against the flood of balls that we are forced to endure daily. And I will not recreate here the usual lecture that while people can not make ends meet they think about their self-interest, shouting insults of any kind in the vulgar talk show (which we, sadistically, look dazed and addicted) to sell one the other after "deep reflections and ideological thinking of the good of the Italians." It 's too easy to make a speech like that now: we should do when they come asking for our votes, to promise you a job, future, etc. etc.. For me, but pity not to have a place in any of those guys would rather die of hunger. In any case, I leave you with a reflection of Pier Paolo Pasolini, the late thinker so mistreated and ignored by his country, now more than ever. Propostovi the song is from "Letters Lutheran", a collection of essays that Pasolini wrote in 1975, his last year of life.
"[...] The powerful Democrats in recent years have held power, they should leave, disappear, if not worse.
But not only remain in power, but speak. Now is their language that is the cornerstone of the scandal. In fact, every time they open their mouth, they, for insincerity, for guilt, fear, mischief, do nothing but lie. Their language is the language of lies. And because their culture is a rotten culture and academic lawyers, monstrously mixed with the technological culture, specifically their language is pure teratology. It can not be heard. We must plug his ears.
The first duty of intellectuals today would be to teach people not to listen to the language of monstrosity powerful Democrats, to shout, to their every word, of revulsion and condemnation. In other words, the duty of intellectuals would be to trim down all the lies that the press and especially television inundate and smother the rest of the body which is inert l'Italia.
Invece, quasi tutti gli intellettuali all'opposizione accettano sostanzialmente quello che accettano i potenti democristiani. Essi non sono affatto scandalizzati dalla mostruosità della lingua dei potenti democristiani".
The events (or rather the vicissitudes) policies of the past few days require a short reflection. We can not remain indifferent or helpless against the flood of balls that we are forced to endure daily. And I will not recreate here the usual lecture that while people can not make ends meet they think about their self-interest, shouting insults of any kind in the vulgar talk show (which we, sadistically, look dazed and addicted) to sell one the other after "deep reflections and ideological thinking of the good of the Italians." It 's too easy to make a speech like that now: we should do when they come asking for our votes, to promise you a job, future, etc. etc.. For me, but pity not to have a place in any of those guys would rather die of hunger. In any case, I leave you with a reflection of Pier Paolo Pasolini, the late thinker so mistreated and ignored by his country, now more than ever. Propostovi the song is from "Letters Lutheran", a collection of essays that Pasolini wrote in 1975, his last year of life.
"[...] The powerful Democrats in recent years have held power, they should leave, disappear, if not worse.
But not only remain in power, but speak. Now is their language that is the cornerstone of the scandal. In fact, every time they open their mouth, they, for insincerity, for guilt, fear, mischief, do nothing but lie. Their language is the language of lies. And because their culture is a rotten culture and academic lawyers, monstrously mixed with the technological culture, specifically their language is pure teratology. It can not be heard. We must plug his ears.
The first duty of intellectuals today would be to teach people not to listen to the language of monstrosity powerful Democrats, to shout, to their every word, of revulsion and condemnation. In other words, the duty of intellectuals would be to trim down all the lies that the press and especially television inundate and smother the rest of the body which is inert l'Italia.
Invece, quasi tutti gli intellettuali all'opposizione accettano sostanzialmente quello che accettano i potenti democristiani. Essi non sono affatto scandalizzati dalla mostruosità della lingua dei potenti democristiani".
Friday, December 10, 2010
Thursday, December 9, 2010
Difference Ebtween Ide Cable And Scsi Cable
Sartre and l'amour
Ahhh l' amour ! Fonte di gioie e dolori, in misura proporzionale alla nostra maggiore tendenza a gioire o soffrire... Tuttavia, anche nelle situazioni che mettono più a dura prova i nostri sentimenti, un rimedio, per quanto mi riguarda, c'è: rifletterci, pensarci su, cercare un senso a tutto ciò che ci succede. Per molti potrà essere una forma di masochismo, ma per me si tratta di una vera e propria decostruzione depotenziante di ciò che ci affligge e, perché no, il preludio ad una reazione-nuova azione (che non necessariamente può portare al meglio, ma questo è un altro discorso).
Al di là delle mie divagazioni, come avete capito stavolta affrontiamo l'amore interpretato nell'ottica ontologico-esistenziale di Jean-Paul Sartre. Il testo di riferimento è naturalmente Essere e nulla , pietra miliare della filosofia contemporanea. Una breve introduzione: dopo aver esaminato nelle sue principali dimensioni e manifestazioni l'uomo, unico protagonista della ricerca del famigerato essere, che potremmo grossolanamente definire come il senso della nostra esistenza e/o suo fondamento, Sartre esamina le dinamiche concrete con cui ci relazioniamo ai nostri simili . Ciò che accomuna tutti i nostri comportamenti, secondo Sartre, è la conflittualità, dato che non può trattarsi di "relazioni unilaterali con un oggetto in-sè, ma di rapporti reciproci e mobili. Mentre io tento di liberarmi dall'influenza d'altri, l'altro tenta di liberarsi dalla mia, mentre io tento di soggiogare l'altro, l'altro tenta di soggiogarmi".
La ragione di questa conflittualità connaturata a qualsiasi relazione è dovuta al fatto che "io sono posseduto dall'altro; lo sguardo d'altri forma il mio corpo nella sua nudità, lo fa nascere, lo vede come io non lo vedrò mai. L'altro possiede un segreto: il segreto di ciò che sono. Mi fa essere. L'altro è per me insieme ciò che mi ha rubato il mio essere e ciò che fa in modo che vi sia un essere che è il mio essere. Così rivendico l'essere che sono; voglio riprenderlo". Tuttavia, c'è un ostacolo insormontabile nella realizzazione di questo progetto: la libertà dell'altro e la conseguente impossibilità di assoggettarlo pienamente a me. Per cui, qualsiasi nostro progetto che implichi un altro, non può che basarsi sulla conflittualità, dato che ci pone in "legame diretto con la libertà d'altri. E' in questo senso che l'amore è conflitto. Il mio progetto di riprendere il mio essere non può realizzarsi se io non mi impadronisco di questa libertà e non la riduco a essere libertà sottomessa alla mia libertà".
"For the lover wants to be loved? If love was pure desire for physical possession, could be, in most cases, easily satisfied. Instead it is the freedom of others as such we want to take over. Who wants to to be loved not want to enslave the beloved. He does not want to have a robot. The lover wants a special kind of appropriation. He wants to have a freedom as freedom. The lover wants to be loved by a claim, however, that this freedom and liberty as freedom is no longer free. He wants the freedom of the will to determine it to be love, and together, that this freedom is imprisoned by him for wanting his imprisonment. E this prison must be both free and fettered waiver in our hands. For it, the lover does not claim to be the cause of this radical change of freedom, but the chance of being unique and privileged. In love, the lover wants to be worldwide for the beloved. "
"[...] If the other loves me, I become the 'unbeatable , which means that I must be the end absolute. The object that the other must be me, is a complete reference center around which are arranged as a pure means-everything tools in the world. If I am to be loved, are the subject in whom the world will exist for each other. Instead of being a this that stacca dallo sfondo del mondo, sono l'oggetto-sfondo dal quale il mondo si stacca. [...] Mentre, prima di essere amati, eravamo inquieti per questa protuberanza ingiustificata, ingiustificabile che era la nostra esistenza, mentre ci sentivamo "di troppo", ora sentiamo che questa esistenza è ripresa e voluta nei minimi particolari da una libertà assoluta che essa condiziona nello stesso tempo e che proprio noi vogliamo con la nostra libertà. E' questo il fondo della gioia d'amore, quando c'è: sentirci giustificati di esistere".
Tuttavia, anche questa sopraelevazione ontica e spirituale allo stesso tempo è distruttibile in quanto "le relazioni amorose sono un sistema di rimandi all'infinito sotto the perfect symbol of love value, that is a fusion of conscience in which each retains its otherness to justify another. "There is always a subtle nothing that separates the two lovers, even in moments of melting total that is given that it, too often proved elusive, miserable, empty as it inevitably material and finished (but will return to this point.) "Love is therefore a contradictory effort: the problem of my being-for -Other remains unsolved, the lovers remain every man for himself in a total subjectivity, does not lessen their contingency and saves them from the facticity. Moreover, their gain can be continuously compromised: at every moment, every conscience can be released from his chains and the other as suddenly contemplate object. Then the magic stops, the other half becomes among other means, the illusion, the game of mirrors that form the reality of love, suddenly ceases. "Amara as plain truth.
Ahhh l' amour ! Fonte di gioie e dolori, in misura proporzionale alla nostra maggiore tendenza a gioire o soffrire... Tuttavia, anche nelle situazioni che mettono più a dura prova i nostri sentimenti, un rimedio, per quanto mi riguarda, c'è: rifletterci, pensarci su, cercare un senso a tutto ciò che ci succede. Per molti potrà essere una forma di masochismo, ma per me si tratta di una vera e propria decostruzione depotenziante di ciò che ci affligge e, perché no, il preludio ad una reazione-nuova azione (che non necessariamente può portare al meglio, ma questo è un altro discorso).
Al di là delle mie divagazioni, come avete capito stavolta affrontiamo l'amore interpretato nell'ottica ontologico-esistenziale di Jean-Paul Sartre. Il testo di riferimento è naturalmente Essere e nulla , pietra miliare della filosofia contemporanea. Una breve introduzione: dopo aver esaminato nelle sue principali dimensioni e manifestazioni l'uomo, unico protagonista della ricerca del famigerato essere, che potremmo grossolanamente definire come il senso della nostra esistenza e/o suo fondamento, Sartre esamina le dinamiche concrete con cui ci relazioniamo ai nostri simili . Ciò che accomuna tutti i nostri comportamenti, secondo Sartre, è la conflittualità, dato che non può trattarsi di "relazioni unilaterali con un oggetto in-sè, ma di rapporti reciproci e mobili. Mentre io tento di liberarmi dall'influenza d'altri, l'altro tenta di liberarsi dalla mia, mentre io tento di soggiogare l'altro, l'altro tenta di soggiogarmi".
La ragione di questa conflittualità connaturata a qualsiasi relazione è dovuta al fatto che "io sono posseduto dall'altro; lo sguardo d'altri forma il mio corpo nella sua nudità, lo fa nascere, lo vede come io non lo vedrò mai. L'altro possiede un segreto: il segreto di ciò che sono. Mi fa essere. L'altro è per me insieme ciò che mi ha rubato il mio essere e ciò che fa in modo che vi sia un essere che è il mio essere. Così rivendico l'essere che sono; voglio riprenderlo". Tuttavia, c'è un ostacolo insormontabile nella realizzazione di questo progetto: la libertà dell'altro e la conseguente impossibilità di assoggettarlo pienamente a me. Per cui, qualsiasi nostro progetto che implichi un altro, non può che basarsi sulla conflittualità, dato che ci pone in "legame diretto con la libertà d'altri. E' in questo senso che l'amore è conflitto. Il mio progetto di riprendere il mio essere non può realizzarsi se io non mi impadronisco di questa libertà e non la riduco a essere libertà sottomessa alla mia libertà".
"For the lover wants to be loved? If love was pure desire for physical possession, could be, in most cases, easily satisfied. Instead it is the freedom of others as such we want to take over. Who wants to to be loved not want to enslave the beloved. He does not want to have a robot. The lover wants a special kind of appropriation. He wants to have a freedom as freedom. The lover wants to be loved by a claim, however, that this freedom and liberty as freedom is no longer free. He wants the freedom of the will to determine it to be love, and together, that this freedom is imprisoned by him for wanting his imprisonment. E this prison must be both free and fettered waiver in our hands. For it, the lover does not claim to be the cause of this radical change of freedom, but the chance of being unique and privileged. In love, the lover wants to be worldwide for the beloved. "
"[...] If the other loves me, I become the 'unbeatable , which means that I must be the end absolute. The object that the other must be me, is a complete reference center around which are arranged as a pure means-everything tools in the world. If I am to be loved, are the subject in whom the world will exist for each other. Instead of being a this that stacca dallo sfondo del mondo, sono l'oggetto-sfondo dal quale il mondo si stacca. [...] Mentre, prima di essere amati, eravamo inquieti per questa protuberanza ingiustificata, ingiustificabile che era la nostra esistenza, mentre ci sentivamo "di troppo", ora sentiamo che questa esistenza è ripresa e voluta nei minimi particolari da una libertà assoluta che essa condiziona nello stesso tempo e che proprio noi vogliamo con la nostra libertà. E' questo il fondo della gioia d'amore, quando c'è: sentirci giustificati di esistere".
Tuttavia, anche questa sopraelevazione ontica e spirituale allo stesso tempo è distruttibile in quanto "le relazioni amorose sono un sistema di rimandi all'infinito sotto the perfect symbol of love value, that is a fusion of conscience in which each retains its otherness to justify another. "There is always a subtle nothing that separates the two lovers, even in moments of melting total that is given that it, too often proved elusive, miserable, empty as it inevitably material and finished (but will return to this point.) "Love is therefore a contradictory effort: the problem of my being-for -Other remains unsolved, the lovers remain every man for himself in a total subjectivity, does not lessen their contingency and saves them from the facticity. Moreover, their gain can be continuously compromised: at every moment, every conscience can be released from his chains and the other as suddenly contemplate object. Then the magic stops, the other half becomes among other means, the illusion, the game of mirrors that form the reality of love, suddenly ceases. "Amara as plain truth.
Halloween Saying On Invitations
Wednesday, December 8, 2010
Team Initiation Drinking Ideas
swap arrived ....
my mom I have received many packages and parcels these days ....... Swap jewels and then we start the autumn swap received from ladybugs ....
swap handle received from France (smells good) were more a beautiful elf (I love fairies and elves, as well as snowglobes) a keychain / scissors and lots of candy .. (I apologize for having "stolen" photos of her but I had made a pack with all the content of it is crap that picture! Once I get a little 'time will scatter another and you shall see ... )
Well, what about girls .... thanks You have been very generous ...
Monday, December 6, 2010
Solid Black Sleeve Tattoo
Thursday, December 2, 2010
What Happened With Wifelovers
Wednesday, December 1, 2010
Muhammad Breastfeeding Woman
Among Monicelli Cioran
The first intervention of this month could only be inspired by the tragic loss of a great artist and intellectual Italian, Mario Monicelli. And we will do so using language that marked all his films: that of sincerity, frankness and veiled bitterness that each of us feels no just stop a moment to reflect on themselves and on our country. The need for such a memory is made even more pressing, especially for the way Monicelli chose to terminate its existence, has become, unfortunately, the subject of discussions becere of our politicians, who have managed to do even a mourning this tragic field of battle for their repulsive ideology. But now is not the case of debate on euthanasia: we want to take inspiration from the last gesture made by the master of Monicelli to reflect on something that is taboo for our civilization, or our structural move towards death, the close relationship between life and death and how the slightest thing is enough to turn a life forever.
The philosopher that I want you listen to this thought has made the cornerstone of his entire thought. This is Emil Cioran which have long focused on the meaning of this extreme as courageous gesture. But suicide can not and should not be viewed as the easy solution to all our ills, or as a pleasant destination to aim for, but as a cryptic note-limit to our already paradoxical existence as inescapably reminds us of our finitude, in our weakness, our powerlessness structural rather try to forget following projects, commitments, concerns and anxieties with which we in the busy everyday life. Let us then pause for a moment this time "full" and let us talk Cioran, dedicando questi pensieri al Maestro Mario Monicelli.
- Incontri col suicidio -
Esiste in noi, più che una volontà, una tentazione di morire. Se infatti ci fosse concesso di volere la morte, chi, alla prima contrarietà, non ne approfitterebbe? Un altro impedimento entra nel gioco: l'idea di uccidersi appare incredibilmente nuova a chi ne è posseduto; costui dunque si figura di eseguire un atto senza precedenti : questa illusione lo occupa e lo lusinga, e gli fa perdere del tempo prezioso.
Quando ci afferra l'idea di farla finita, uno spazio si stende davanti a noi, una vasta possibilità fuori dal tempo and eternity itself, opening up dizzy, hope to die beyond death.
Indeed, suicide is rivaling the death, show that you can do better than her, and play a dirty trick, not a small success, to rehabilitate his own eyes. We are reassured, it persuades you not to be the last one came, they deserve a little consideration. You think: so far, unable to take action, I had no estimate of me, and now everything changes: destroying, at the same time destroy all the reasons I had to despise, regain confidence, are always someone ...
waiting to die is subjected to it, have it expire at the rank of the process, resign themselves to a conclusion we do not know the date, method and scenario. It is well distant Act overall. There is nothing in common between the obsession of suicide and the feeling of death. [...] The death is not necessarily experienced as liberation; suicide freedom always has its peak, is paroxysm of salvation.
For decency, we should be the ones to choose when to disappear. E 'demeaning extinct as there is extinguished, it is intolerable to be exposed to an end on which we have no power, that light, we landed, I rushed nell'innominabile.
[...] The millennial conspiracy against suicide is the cause of amyotrophic footprint and in society. And 'our right learn at the right time to destroy , to hasten cheerfully to our spectrum. Until we we solved this, we deserve all of our humiliation. When it is out of his own reason for being, stubborn and hateful. But everywhere you look, you do not see that the indignities of bodily death.
Leopardi writes that after many years when we find someone they met in childhood, the first impression we get is that it has been hit by some great misfortune. Take is diminished: there is no loss of being. [...]
There is killed, as is commonly thought, in a fit of dementia, but access intolerable lucidity, in a paroxysm that if we can be likened to madness, it is true that a clairvoyant too, pushed to extremes and where you would like to get rid at all costs, beyond the bounds of reason. Nevertheless, the high point of Decision does not witness a clouded: the idiots do not kill practically anything, even if you can kill out of fear, or presentiment, of idiocy. The application then merges with the last leap of the spirit that takes itself before annihilating and gathers all his strength, all his faculties. On the threshold of defeat extreme test in itself is not entirely lost. It is lost in full-in flash master all its own.
quell'isoletta In the Mediterranean, long before dawn, on the path that led me toward the steeper the cliffs, I did some reflection on the porter on holiday: if that were my house I would paint the ocher, I would put a another fence, and so on. Despite my idea, I clung to trifles: contemplating the agaves, stroll, evading, with the occasional urgency of my intention. A dog started barking, then followed me and made me party. No one who has not tried it, can imagine the comfort that gives you an animal when it comes to keep you company, if the gods have turned their backs on you.
- Pensieri strangolati -
Perché non mi uccido? - Se conoscessi esattamente ciò che me lo impedisce, non avrei più domande da rivolgermi, avrei risposto a tutte.
Non abbiamo scrutato il fondo di una cosa, se non l'abbiamo considerata al lume dell'avvilimento.
"Niente merita d'essere preso a cuore" - si ripete colui che ce l'ha con se stesso ogni volta che soffre e che non perde l'occasione di soffrire.
Cercare un senso a qualcosa è non tanto da ingenuo quanto da masochista.
Bisognerebbe dirsi e ripetersi che tutto quanto ci allieta o affligge corrisponde a niente, che tutto è perfettamente derisorio e vano.
...Ebbene, ogni giorno me lo dico e me lo ripeto, eppure continuo ad allietarmi e ad affliggermi.
The first intervention of this month could only be inspired by the tragic loss of a great artist and intellectual Italian, Mario Monicelli. And we will do so using language that marked all his films: that of sincerity, frankness and veiled bitterness that each of us feels no just stop a moment to reflect on themselves and on our country. The need for such a memory is made even more pressing, especially for the way Monicelli chose to terminate its existence, has become, unfortunately, the subject of discussions becere of our politicians, who have managed to do even a mourning this tragic field of battle for their repulsive ideology. But now is not the case of debate on euthanasia: we want to take inspiration from the last gesture made by the master of Monicelli to reflect on something that is taboo for our civilization, or our structural move towards death, the close relationship between life and death and how the slightest thing is enough to turn a life forever.
The philosopher that I want you listen to this thought has made the cornerstone of his entire thought. This is Emil Cioran which have long focused on the meaning of this extreme as courageous gesture. But suicide can not and should not be viewed as the easy solution to all our ills, or as a pleasant destination to aim for, but as a cryptic note-limit to our already paradoxical existence as inescapably reminds us of our finitude, in our weakness, our powerlessness structural rather try to forget following projects, commitments, concerns and anxieties with which we in the busy everyday life. Let us then pause for a moment this time "full" and let us talk Cioran, dedicando questi pensieri al Maestro Mario Monicelli.
- Incontri col suicidio -
Esiste in noi, più che una volontà, una tentazione di morire. Se infatti ci fosse concesso di volere la morte, chi, alla prima contrarietà, non ne approfitterebbe? Un altro impedimento entra nel gioco: l'idea di uccidersi appare incredibilmente nuova a chi ne è posseduto; costui dunque si figura di eseguire un atto senza precedenti : questa illusione lo occupa e lo lusinga, e gli fa perdere del tempo prezioso.
Quando ci afferra l'idea di farla finita, uno spazio si stende davanti a noi, una vasta possibilità fuori dal tempo and eternity itself, opening up dizzy, hope to die beyond death.
Indeed, suicide is rivaling the death, show that you can do better than her, and play a dirty trick, not a small success, to rehabilitate his own eyes. We are reassured, it persuades you not to be the last one came, they deserve a little consideration. You think: so far, unable to take action, I had no estimate of me, and now everything changes: destroying, at the same time destroy all the reasons I had to despise, regain confidence, are always someone ...
waiting to die is subjected to it, have it expire at the rank of the process, resign themselves to a conclusion we do not know the date, method and scenario. It is well distant Act overall. There is nothing in common between the obsession of suicide and the feeling of death. [...] The death is not necessarily experienced as liberation; suicide freedom always has its peak, is paroxysm of salvation.
For decency, we should be the ones to choose when to disappear. E 'demeaning extinct as there is extinguished, it is intolerable to be exposed to an end on which we have no power, that light, we landed, I rushed nell'innominabile.
[...] The millennial conspiracy against suicide is the cause of amyotrophic footprint and in society. And 'our right learn at the right time to destroy , to hasten cheerfully to our spectrum. Until we we solved this, we deserve all of our humiliation. When it is out of his own reason for being, stubborn and hateful. But everywhere you look, you do not see that the indignities of bodily death.
Leopardi writes that after many years when we find someone they met in childhood, the first impression we get is that it has been hit by some great misfortune. Take is diminished: there is no loss of being. [...]
There is killed, as is commonly thought, in a fit of dementia, but access intolerable lucidity, in a paroxysm that if we can be likened to madness, it is true that a clairvoyant too, pushed to extremes and where you would like to get rid at all costs, beyond the bounds of reason. Nevertheless, the high point of Decision does not witness a clouded: the idiots do not kill practically anything, even if you can kill out of fear, or presentiment, of idiocy. The application then merges with the last leap of the spirit that takes itself before annihilating and gathers all his strength, all his faculties. On the threshold of defeat extreme test in itself is not entirely lost. It is lost in full-in flash master all its own.
quell'isoletta In the Mediterranean, long before dawn, on the path that led me toward the steeper the cliffs, I did some reflection on the porter on holiday: if that were my house I would paint the ocher, I would put a another fence, and so on. Despite my idea, I clung to trifles: contemplating the agaves, stroll, evading, with the occasional urgency of my intention. A dog started barking, then followed me and made me party. No one who has not tried it, can imagine the comfort that gives you an animal when it comes to keep you company, if the gods have turned their backs on you.
- Pensieri strangolati -
Perché non mi uccido? - Se conoscessi esattamente ciò che me lo impedisce, non avrei più domande da rivolgermi, avrei risposto a tutte.
Non abbiamo scrutato il fondo di una cosa, se non l'abbiamo considerata al lume dell'avvilimento.
"Niente merita d'essere preso a cuore" - si ripete colui che ce l'ha con se stesso ogni volta che soffre e che non perde l'occasione di soffrire.
Cercare un senso a qualcosa è non tanto da ingenuo quanto da masochista.
Bisognerebbe dirsi e ripetersi che tutto quanto ci allieta o affligge corrisponde a niente, che tutto è perfettamente derisorio e vano.
...Ebbene, ogni giorno me lo dico e me lo ripeto, eppure continuo ad allietarmi e ad affliggermi.
Tuesday, November 30, 2010
How To Put On Shower Hooks
to start the super creative Christmas offers
leave each year as the super offertedi Christmas! these are fresh fresh made last night are unique so if you want to grab yourself a pair do not hesitate to contact me sorayaprincess@hotmail.it
found by scrolling down the pictures in detail every couple ... soon with other super deals Christmas
leave each year as the super offertedi Christmas! these are fresh fresh made last night are unique so if you want to grab yourself a pair do not hesitate to contact me sorayaprincess@hotmail.it
found by scrolling down the pictures in detail every couple ... soon with other super deals Christmas
Monday, November 29, 2010
Black Football Players Wearing Jockstraps
Sunday, November 28, 2010
Peroxide On Genital Herpes
Thursday, November 25, 2010
How To Get Wife To Brazilian Wax
Tuesday, November 23, 2010
Food For Baby Lizards
Kubrick - Full Metal Jacket
Ieri notte ho beccato "Full Metal Jacket", uno dei più bei film tra tutti i capolavori kubrickiani. Definirlo un film sulla Guerra del Vietnam sarebbe riduttivo. Il Vietnam non vi appare che marginalmente: ciò che interessava maggiormente Kubrick era rappresentare la follia e la psicocità che contrassegnano qualsiasi tipo di potere e/o istituzione civile. Si tratta quindi di un film non su una guerra ma sulla guerra come prodotto dell'irrazionalità e della follia umana. Irrazionalità e follia che si nutrono, ovviamente della prevaricazione, dell'odio e dell'intolleranza per i nostri simili, but show that, in planning an extermination camp or construction of atom bombs capable of wiping out entire regions, a frightening lucidity and rationality, almost omnipotent. These are not trivial issues: Nietzsche, in "Beyond Good and Evil," wrote that "Madness is something rare in individuals - but in groups, parties, nations and ages it is the rule .
For Heidegger, in our time, when we realized the totalitarianism of the technique on all that is, a man in the first place, war is the perfect expression of nihilism, violence and the danger that always accompany the human being. The armies that are not factories "Spare parts" for use even in peacetime, since one must be prepared for any eventuality-pieces to replace the soldiers' fault or no longer usable. " The man reaches the full reification and even death faced by a nuclear war has nothing heroic nor courageous. With this, I did not want to make a digression end in itself: it is issues that shine brightly from "Full Metal Jacket."
The film can be divided into two parts: first the director masterfully describes the essential reification and approval of the individuals who must work in the U.S. Army. The young recruits will not, nor should they think individually, but as one body. Therefore, the only thing I have to do is obey the orders of the chief trainer, the acrobatic General Hartmann, whose job is to train "not robots, but the killer and exhaust in any manner for the recruits weed out the inept. In this context, Pyle is the most obvious target as an example: the humiliation, psychological violence that is routinely submitted by the General at the end manage to make it a true soldier, even if that will happen at the expense of its balance mental, hence the tragic end last night at the camp. Ironically, General Hartman will be a victim of the effectiveness del suo metodo di addestramento basato su valori come l'odio, il disprezzo e la "volontà d'uccidere" come via maestra di ogni buon marines.
Nella seconda parte inizia ad emergere il protagonista della narrazione: Joker. Personaggio quantomai complesso ed ambiguo, decide di fare il cronista militare. Stufo della continua manipolazione e delle menzogne propagandistiche che il governo dava in pasto al popolo americano, dicendogli quello che voleva sentirsi dire, ovvero che la "missione di pace" sarebbe stata breve ed indolore per tutti e che il popolo vietnamita era infinitamente grato per la libertà "american-style" loro concessa a suon di bombardamenti e stragi di civili, Joker si fa mandare sul fronte dei combattimenti. Qui intervista bloodthirsty soldiers, like the one helicopter that the question "How can you shoot women and children?", he replied: "It 's easy! should aim to be slower and closer!", finds his fellow platoon Cowboy, and fought at his side, even if fought internally and externally for all that he had been forced to live. All we are told with the unique Kubrick satire that manages to debunk both the pattern of the film earnest and heroic war movies (so ridiculing war in general and showing their nonsense) and, above all, to make the viewer reflect bitterly more superficial.
we come to the surprising final team Joker cade in un'imboscata di un cecchino implacabile. Dopo aver abbattuto quasi metà della squadra, i soldati si dividono tra chi vorrebbe ritirarsi e chi invece non può lasciare invendicata la morte dei propri compagni. Animal si scatena nella caccia del cecchino sanguinario, che alla fine risulterà essere una ragazza viet-cong. Ironia della sorte, il soldato che si ritroverà faccia a faccia con lei è proprio Joker, il soldato pacifista, forse il meno "valoroso" proprio perché non poteva far a meno di pensare alla natura ambigua e contraddittoria dell'uomo, diviso tra bene e male, irrazionalità e ragione. Alla fine Joker esaudisce il desiderio della ragazza agonizzante, finendola a sangue freddo. Ma nonostante le parole dei suoi companions ("Now that you're a hard Joker!"), what emerges from his face that is not lost, that same loss that arises in us after witnessing a scene so devastating. But in none of the Marines of "Full Metal Jacket" may be no room for sentimentality and reflection: here they are now marching into the fire of hell, to hell wanted from their beloved homeland, still thinking in "Jane and nocturnal emission pussy -broken ", but also and above all, the joy of being alive:" Of course - tells Joker - I live in a world of shit, but I'm alive and I am not afraid "of being sent to die for something insanely rational .
Ieri notte ho beccato "Full Metal Jacket", uno dei più bei film tra tutti i capolavori kubrickiani. Definirlo un film sulla Guerra del Vietnam sarebbe riduttivo. Il Vietnam non vi appare che marginalmente: ciò che interessava maggiormente Kubrick era rappresentare la follia e la psicocità che contrassegnano qualsiasi tipo di potere e/o istituzione civile. Si tratta quindi di un film non su una guerra ma sulla guerra come prodotto dell'irrazionalità e della follia umana. Irrazionalità e follia che si nutrono, ovviamente della prevaricazione, dell'odio e dell'intolleranza per i nostri simili, but show that, in planning an extermination camp or construction of atom bombs capable of wiping out entire regions, a frightening lucidity and rationality, almost omnipotent. These are not trivial issues: Nietzsche, in "Beyond Good and Evil," wrote that "Madness is something rare in individuals - but in groups, parties, nations and ages it is the rule .
For Heidegger, in our time, when we realized the totalitarianism of the technique on all that is, a man in the first place, war is the perfect expression of nihilism, violence and the danger that always accompany the human being. The armies that are not factories "Spare parts" for use even in peacetime, since one must be prepared for any eventuality-pieces to replace the soldiers' fault or no longer usable. " The man reaches the full reification and even death faced by a nuclear war has nothing heroic nor courageous. With this, I did not want to make a digression end in itself: it is issues that shine brightly from "Full Metal Jacket."
The film can be divided into two parts: first the director masterfully describes the essential reification and approval of the individuals who must work in the U.S. Army. The young recruits will not, nor should they think individually, but as one body. Therefore, the only thing I have to do is obey the orders of the chief trainer, the acrobatic General Hartmann, whose job is to train "not robots, but the killer and exhaust in any manner for the recruits weed out the inept. In this context, Pyle is the most obvious target as an example: the humiliation, psychological violence that is routinely submitted by the General at the end manage to make it a true soldier, even if that will happen at the expense of its balance mental, hence the tragic end last night at the camp. Ironically, General Hartman will be a victim of the effectiveness del suo metodo di addestramento basato su valori come l'odio, il disprezzo e la "volontà d'uccidere" come via maestra di ogni buon marines.
Nella seconda parte inizia ad emergere il protagonista della narrazione: Joker. Personaggio quantomai complesso ed ambiguo, decide di fare il cronista militare. Stufo della continua manipolazione e delle menzogne propagandistiche che il governo dava in pasto al popolo americano, dicendogli quello che voleva sentirsi dire, ovvero che la "missione di pace" sarebbe stata breve ed indolore per tutti e che il popolo vietnamita era infinitamente grato per la libertà "american-style" loro concessa a suon di bombardamenti e stragi di civili, Joker si fa mandare sul fronte dei combattimenti. Qui intervista bloodthirsty soldiers, like the one helicopter that the question "How can you shoot women and children?", he replied: "It 's easy! should aim to be slower and closer!", finds his fellow platoon Cowboy, and fought at his side, even if fought internally and externally for all that he had been forced to live. All we are told with the unique Kubrick satire that manages to debunk both the pattern of the film earnest and heroic war movies (so ridiculing war in general and showing their nonsense) and, above all, to make the viewer reflect bitterly more superficial.
we come to the surprising final team Joker cade in un'imboscata di un cecchino implacabile. Dopo aver abbattuto quasi metà della squadra, i soldati si dividono tra chi vorrebbe ritirarsi e chi invece non può lasciare invendicata la morte dei propri compagni. Animal si scatena nella caccia del cecchino sanguinario, che alla fine risulterà essere una ragazza viet-cong. Ironia della sorte, il soldato che si ritroverà faccia a faccia con lei è proprio Joker, il soldato pacifista, forse il meno "valoroso" proprio perché non poteva far a meno di pensare alla natura ambigua e contraddittoria dell'uomo, diviso tra bene e male, irrazionalità e ragione. Alla fine Joker esaudisce il desiderio della ragazza agonizzante, finendola a sangue freddo. Ma nonostante le parole dei suoi companions ("Now that you're a hard Joker!"), what emerges from his face that is not lost, that same loss that arises in us after witnessing a scene so devastating. But in none of the Marines of "Full Metal Jacket" may be no room for sentimentality and reflection: here they are now marching into the fire of hell, to hell wanted from their beloved homeland, still thinking in "Jane and nocturnal emission pussy -broken ", but also and above all, the joy of being alive:" Of course - tells Joker - I live in a world of shit, but I'm alive and I am not afraid "of being sent to die for something insanely rational .
Katys Playground Gallery
Monday, November 15, 2010
Sore Gums After Wisdom Teeth Extraction
Schopenhauer, the will and the music
We continue to delve in "The World as Will and Representation", maxima work of Schopenhauer. In the last intervention we have emphasized the focal point of the reflection of the philosopher: he's trying to understand the meaning of pain and the inevitable suffering that characterize our existence, Schopenhauer arrives at the definition of life as a continuous search for fulfillment of our desires, symptoms continually emerging the will of life that animates all beings. Man, being the only one of the institutions to reflect on everything, he may try to escape this constant restlessness: through asceticism (result especially difficult to achieve since it assumes un'abnegazione and a continuous effort), or through intuition and contemplation and artistic aesthetic, even for short as intense moments, manages to make us forget our misery existential, opens the essential knowledge about ourselves and the world around us. Among the various forms of artistic expression, Schopenhauer did not hesitate to describe the music as the most revealing of all. Let's see why.
- Music as an art in itself -
Music is separated from all other arts. We do not recognize in her the copy, the repetition of any idea of \u200b\u200bbeings in the world, but it acts on intimacy with the power of man, is he so fully and thoroughly understood, quasi lingua universale la cui evidenza supera quella dello stesso mondo intuitivo, che in lei certamente dobbiamo cercare ben più che un "oscuro esercizio aritmetico che l'animo fa non sapendo di numerare", come la definì Leibniz. Se essa altro non fosse, la soddisfazione che ci procura dovrebbe esser simile a quella che noi proviamo per l'esatta soluzione di un calcolo, e non potrebbe essere quell'intima gioia che nasce in noi al veder trasformata in linguaggio la più profonda sostanza del nostro essere.
- La musica è oggettivazione diretta e immagine della volontà -
[...] Adeguata oggettivazione della volontà sono le idee; suscitare la conoscenza di queste [possibile only by a corresponding change in cognitive subject] through the representation of individual objects [artworks] is the purpose of all other arts. They will therefore be subject only indirectly, ie by means of ideas, and as our world is nothing but the phenomenon in the plurality of ideas, so the music goes beyond the ideas [ie, not by imitating any of this material that around us and we know the reason] is also completely independent from the phenomenal world. Music is immediate objectification and copy of all the will , as the world is, indeed, as are the ideas, which phenomenon is the multiple world of particular things. The music is thus the image of ideas, but the image of the same will. Therefore, the effect of music is all the more powerful and penetrating than the other arts, as they speak of those shadows, but she expresses the essence.
- The function of the melody - the melody
[...] Processing unbridled freedom in moving about from start to finish with seamless consistency and full of meanings of a single thought, I recognize the supreme degree of objectification the will, life and conscious activities of man. Like this, being the only endowed with reason, look in front and behind a sè sul corso della sua realtà e delle innumerevoli possibilità, conducendo così una vita consapevole e coerente come un tutto organico, allo stesso modo la melodia ha dal principio alla fine una significativa, intenzionale coerenza. Essa ci racconta di conseguenza la storia della volontà che, illuminata dalla riflessione, si esprime nella realtà con la serie dei suoi atti; ma dice di più: narra di questa storia più segreta, ne dipinge ogni emozione, ogni slancio, ogni moto, tutto ciò che la ragione raccoglie sotto il vasto e negativo concetto di sentimento, nè può meglio raccogliere nelle proprie astrazioni.
- Analogia del movimento melodico con quello della volontà -
[...] Ora, come l'essenza dell'uomo consiste nell'aspirazione della volontà che viene appagata e torna ad aspirare perennemente, anzi la sua felicità, il suo benessere sta nella rapidità del passaggio dal desiderio all'appagamento e da questo ad un nuovo desiderio, poichè la mancanza dell'appagamento è dolore, la mancanza di un nuovo desiderio è vuota aspirazione, noia, così l'essenza della melodia è un continuo scostarsi, un errar lontano dal tono fondamentale, per molte vie non solo verso i gradi armonici, ma per ogni tono, sempre però infine con un ritorno al tono fondamentale. Per tutte queste vie la melodia esprime le diverse forme di aspirazione della volontà, ma da ultimo anche fulfillment by the return to a degree harmonic, or fundamental level. Finding the melody, revealing her in all the deepest secrets of will and human emotion is the work of genius, whose work, here more evident than elsewhere, is away from any reflection, and you can call it inspiration. Here the concept, as always in art, is barren: the composer to reveal the inner essence of the world and expresses the deepest wisdom in a language which his reason does not intend to.
- The high value of art -
So, whereas with the art we have not only "mirror" of the will, but also the ability to free (even if at the moment) from all ties with the will for Schopenhauer art is the most innocent and the only comforting aspect of life. [...] The pleasure for all things beautiful, the consolation offered by art, the artist's enthusiasm that makes you forget the pains of life and is the only privilege that reward the genius of the pain grew along with the clarity of consciousness , and the awful loneliness of an alien race, everything comes from the fact that the in-itself of life, will, existence itself is a constant pain, some pitiful, some horrendous, but the same as a simple representation merely sensed or reproduced by art, free from any pain, has a significant show.
We continue to delve in "The World as Will and Representation", maxima work of Schopenhauer. In the last intervention we have emphasized the focal point of the reflection of the philosopher: he's trying to understand the meaning of pain and the inevitable suffering that characterize our existence, Schopenhauer arrives at the definition of life as a continuous search for fulfillment of our desires, symptoms continually emerging the will of life that animates all beings. Man, being the only one of the institutions to reflect on everything, he may try to escape this constant restlessness: through asceticism (result especially difficult to achieve since it assumes un'abnegazione and a continuous effort), or through intuition and contemplation and artistic aesthetic, even for short as intense moments, manages to make us forget our misery existential, opens the essential knowledge about ourselves and the world around us. Among the various forms of artistic expression, Schopenhauer did not hesitate to describe the music as the most revealing of all. Let's see why.
- Music as an art in itself -
Music is separated from all other arts. We do not recognize in her the copy, the repetition of any idea of \u200b\u200bbeings in the world, but it acts on intimacy with the power of man, is he so fully and thoroughly understood, quasi lingua universale la cui evidenza supera quella dello stesso mondo intuitivo, che in lei certamente dobbiamo cercare ben più che un "oscuro esercizio aritmetico che l'animo fa non sapendo di numerare", come la definì Leibniz. Se essa altro non fosse, la soddisfazione che ci procura dovrebbe esser simile a quella che noi proviamo per l'esatta soluzione di un calcolo, e non potrebbe essere quell'intima gioia che nasce in noi al veder trasformata in linguaggio la più profonda sostanza del nostro essere.
- La musica è oggettivazione diretta e immagine della volontà -
[...] Adeguata oggettivazione della volontà sono le idee; suscitare la conoscenza di queste [possibile only by a corresponding change in cognitive subject] through the representation of individual objects [artworks] is the purpose of all other arts. They will therefore be subject only indirectly, ie by means of ideas, and as our world is nothing but the phenomenon in the plurality of ideas, so the music goes beyond the ideas [ie, not by imitating any of this material that around us and we know the reason] is also completely independent from the phenomenal world. Music is immediate objectification and copy of all the will , as the world is, indeed, as are the ideas, which phenomenon is the multiple world of particular things. The music is thus the image of ideas, but the image of the same will. Therefore, the effect of music is all the more powerful and penetrating than the other arts, as they speak of those shadows, but she expresses the essence.
- The function of the melody - the melody
[...] Processing unbridled freedom in moving about from start to finish with seamless consistency and full of meanings of a single thought, I recognize the supreme degree of objectification the will, life and conscious activities of man. Like this, being the only endowed with reason, look in front and behind a sè sul corso della sua realtà e delle innumerevoli possibilità, conducendo così una vita consapevole e coerente come un tutto organico, allo stesso modo la melodia ha dal principio alla fine una significativa, intenzionale coerenza. Essa ci racconta di conseguenza la storia della volontà che, illuminata dalla riflessione, si esprime nella realtà con la serie dei suoi atti; ma dice di più: narra di questa storia più segreta, ne dipinge ogni emozione, ogni slancio, ogni moto, tutto ciò che la ragione raccoglie sotto il vasto e negativo concetto di sentimento, nè può meglio raccogliere nelle proprie astrazioni.
- Analogia del movimento melodico con quello della volontà -
[...] Ora, come l'essenza dell'uomo consiste nell'aspirazione della volontà che viene appagata e torna ad aspirare perennemente, anzi la sua felicità, il suo benessere sta nella rapidità del passaggio dal desiderio all'appagamento e da questo ad un nuovo desiderio, poichè la mancanza dell'appagamento è dolore, la mancanza di un nuovo desiderio è vuota aspirazione, noia, così l'essenza della melodia è un continuo scostarsi, un errar lontano dal tono fondamentale, per molte vie non solo verso i gradi armonici, ma per ogni tono, sempre però infine con un ritorno al tono fondamentale. Per tutte queste vie la melodia esprime le diverse forme di aspirazione della volontà, ma da ultimo anche fulfillment by the return to a degree harmonic, or fundamental level. Finding the melody, revealing her in all the deepest secrets of will and human emotion is the work of genius, whose work, here more evident than elsewhere, is away from any reflection, and you can call it inspiration. Here the concept, as always in art, is barren: the composer to reveal the inner essence of the world and expresses the deepest wisdom in a language which his reason does not intend to.
- The high value of art -
So, whereas with the art we have not only "mirror" of the will, but also the ability to free (even if at the moment) from all ties with the will for Schopenhauer art is the most innocent and the only comforting aspect of life. [...] The pleasure for all things beautiful, the consolation offered by art, the artist's enthusiasm that makes you forget the pains of life and is the only privilege that reward the genius of the pain grew along with the clarity of consciousness , and the awful loneliness of an alien race, everything comes from the fact that the in-itself of life, will, existence itself is a constant pain, some pitiful, some horrendous, but the same as a simple representation merely sensed or reproduced by art, free from any pain, has a significant show.
Monday, November 8, 2010
Meaning Behind Rubber Bands On Someone's Wrist
Schopenhauer, the will and the art
Few thinkers manages to get in deep to make you wince, to give you the paradoxical impression of sharing with you experiences, thoughts and suffering as Arthur Schopenhauer. Forgive the presentation a little too intimate, but this is what I feel reading some of his works. I will try to share with you my impressions of these, intending this time to be able to go deeper reflection, hoping, as always, do not get bored. The script to which we refer is the third book of "The World as Will and Representation." This intervention will focus on the excellent introduction to the philosophy of Rinaldo schopenahueriana Manfredi (On which I took the liberty of making some minor modifications) in the next we will enter into the heart of the work instead discussing a particularly revealing form of art according to Schopenhauer: music.
Schopenhauer since adolescence had an extraordinary sensitivity to the painful side of life. His thought was to find a justification of this reality and the problems which it holds. The starting point for his reflection is the Kantian distinction between phenomenal reality and the thing in itself or noumenon. For Schopenhauer, Kant could not justify this distinction because the world is always subject to a subject. However, man can not be considered only as a pure knowledge: it is something far deeper. For there is in addition to the other categories with which to know the reality: the action and will. E 'in it that we feel we are not only subject knowledge, but also centers of activity, capable of suffering, and tend to want to want.
According to Schopenhauer, this will not only own man but is in all things. Will is in the crystal that forms in the falling stone, the flower that is born and animals. The will is the in-itself in the world, which presents itself as a principle on which irrational opens later knowledge. Will is a continuous stretch, bisogno sempre rinascente. Essa genera però nell'uomo il dolore, dato che soltanto noi, essendo dotati di ragione, possiamo renderci conto di essa e del circolo vizioso in cui stringe inesorabilmente la nostra esistenza. La felicità per Schopenhauer [che abbiamo già preso in considerazione qualche tempo fa], non può che essere sfuggente e momentanea, consistendo in quel rapido senso di soddisfazione di un desiderio prima che possano nascerne in noi degli altri. Se la volontà non riprende la sua via nasce la noia. Nessuno potrebbe durare a lungo nella descrizione di uno stato soddisfatto e felice senza riuscire noioso. La vita oscilla fra il dolore e la noia. Di qui il senso di oppressione e di fatica che ci accompagna nella vita. E’ the only will that always torments herself. Existence is a shame that we all serve. If such is the nature of destiny of every living thing, you must find the way that leads to liberation. For this philosophy should never make the abstract precepts but always turn to reality.
serves no purpose to commit suicide. It may free the individual, but leaves intact the will, which also leads to this rather extreme gesture. Liberation can only be achieved when the will become aware of himself and his own destiny, no longer wants to be the will to live, or rather, wants to escape from his dominion restless. E 'namely asceticism, in cui il dolore universale ha parlato, che avviene il miracolo. Dunque la rinuncia, l’inazione, il nirvana è la suprema saggezza, che non solo redime l’individuo in cui si attua, ma l’intera volontà. L’ascesi è la più perfetta ma non la sola forma di liberazione: accanto ad essa abbiamo la giustizia e la compassione, nei quali si tende al superamento dell’egoismo, fonte di ogni dolore, e l’arte.
Questa è contemplazione dell’idea da parte di un soggetto che ha perduto ogni contatto col mondo. Non si tratta dunque tanto di superamento quanto di evasione, di oblio momentaneo del male. Nell'espressione così come nella contemplazione estetica dell'idea della bellezza the subject loses its individuality, it melts any link with the world. Although the ideas have the support of life, this no longer has any effect on him, because what he contemplates is not this or that manifestation of life, nor is he a particular individual in front of it. The artist captures the idea in the form confusing, but in clear intuition: this, like every other form of intuition, belongs to the intellect, but you get when it exceeds the needs of the will. Discursive reason as a faculty member just the domain of abstract concepts, reason, intuition based on empirical data gives the common experience and can more eminent science, and artistic intuition enters the world of essential reality.
Few thinkers manages to get in deep to make you wince, to give you the paradoxical impression of sharing with you experiences, thoughts and suffering as Arthur Schopenhauer. Forgive the presentation a little too intimate, but this is what I feel reading some of his works. I will try to share with you my impressions of these, intending this time to be able to go deeper reflection, hoping, as always, do not get bored. The script to which we refer is the third book of "The World as Will and Representation." This intervention will focus on the excellent introduction to the philosophy of Rinaldo schopenahueriana Manfredi (On which I took the liberty of making some minor modifications) in the next we will enter into the heart of the work instead discussing a particularly revealing form of art according to Schopenhauer: music.
Schopenhauer since adolescence had an extraordinary sensitivity to the painful side of life. His thought was to find a justification of this reality and the problems which it holds. The starting point for his reflection is the Kantian distinction between phenomenal reality and the thing in itself or noumenon. For Schopenhauer, Kant could not justify this distinction because the world is always subject to a subject. However, man can not be considered only as a pure knowledge: it is something far deeper. For there is in addition to the other categories with which to know the reality: the action and will. E 'in it that we feel we are not only subject knowledge, but also centers of activity, capable of suffering, and tend to want to want.
According to Schopenhauer, this will not only own man but is in all things. Will is in the crystal that forms in the falling stone, the flower that is born and animals. The will is the in-itself in the world, which presents itself as a principle on which irrational opens later knowledge. Will is a continuous stretch, bisogno sempre rinascente. Essa genera però nell'uomo il dolore, dato che soltanto noi, essendo dotati di ragione, possiamo renderci conto di essa e del circolo vizioso in cui stringe inesorabilmente la nostra esistenza. La felicità per Schopenhauer [che abbiamo già preso in considerazione qualche tempo fa], non può che essere sfuggente e momentanea, consistendo in quel rapido senso di soddisfazione di un desiderio prima che possano nascerne in noi degli altri. Se la volontà non riprende la sua via nasce la noia. Nessuno potrebbe durare a lungo nella descrizione di uno stato soddisfatto e felice senza riuscire noioso. La vita oscilla fra il dolore e la noia. Di qui il senso di oppressione e di fatica che ci accompagna nella vita. E’ the only will that always torments herself. Existence is a shame that we all serve. If such is the nature of destiny of every living thing, you must find the way that leads to liberation. For this philosophy should never make the abstract precepts but always turn to reality.
serves no purpose to commit suicide. It may free the individual, but leaves intact the will, which also leads to this rather extreme gesture. Liberation can only be achieved when the will become aware of himself and his own destiny, no longer wants to be the will to live, or rather, wants to escape from his dominion restless. E 'namely asceticism, in cui il dolore universale ha parlato, che avviene il miracolo. Dunque la rinuncia, l’inazione, il nirvana è la suprema saggezza, che non solo redime l’individuo in cui si attua, ma l’intera volontà. L’ascesi è la più perfetta ma non la sola forma di liberazione: accanto ad essa abbiamo la giustizia e la compassione, nei quali si tende al superamento dell’egoismo, fonte di ogni dolore, e l’arte.
Questa è contemplazione dell’idea da parte di un soggetto che ha perduto ogni contatto col mondo. Non si tratta dunque tanto di superamento quanto di evasione, di oblio momentaneo del male. Nell'espressione così come nella contemplazione estetica dell'idea della bellezza the subject loses its individuality, it melts any link with the world. Although the ideas have the support of life, this no longer has any effect on him, because what he contemplates is not this or that manifestation of life, nor is he a particular individual in front of it. The artist captures the idea in the form confusing, but in clear intuition: this, like every other form of intuition, belongs to the intellect, but you get when it exceeds the needs of the will. Discursive reason as a faculty member just the domain of abstract concepts, reason, intuition based on empirical data gives the common experience and can more eminent science, and artistic intuition enters the world of essential reality.
Wednesday, November 3, 2010
Xw 2300 Dixie Chopper
falls LO-FI FOR THE EYES
Dear viewers, friends and consumers. The CADEO will be present today, November 4, 2010 to LO-FI FOR THE EYES in the context of the Rome Film Festival . A moment of, let us say, deserved the red carpet for a duo that has the worst movies ever put before a 'good television. Concepts will be pictures to reiterate, for a calm but firm to the usual criticism of the caste seventh art.
Appointment then you all for an unmatched record of plays.
Dear viewers, friends and consumers. The CADEO will be present today, November 4, 2010 to LO-FI FOR THE EYES in the context of the Rome Film Festival . A moment of, let us say, deserved the red carpet for a duo that has the worst movies ever put before a 'good television. Concepts
Appointment then you all for an unmatched record of plays.
Monday, October 25, 2010
Bmx Bike Park Birthday Cakes
Cross and love for art
I do not like self-congratulation. But a degree is still a degree, to heck! So here I am, to give you a "starter" of my dissertation, which focuses on the aesthetics of Benedetto Croce, who did not hesitate a moment to identify as my ideal philosopher (although it is aware of the wishful thinking that there is behind the idealization and emulation: we always end up chasing someone, inevitably, will never achieve).
extract that soon I will propose is an excerpt from a work of 1933, "The poesia", in cui Croce riesamina e puntualizza i concetti fondamentali della sua estetica (che troverete riepilogati sinteticamente nella mia tesi, ovviamente se ne avrete voglia). Croce prende in considerazione il famigerato luogo comune dell' "arte per l'arte", ovvero dell'amore disinteressato che ogni artista dovrebbe avere rispetto al proprio ufficio sacro : l'espressione. Tuttavia, ed è un'altra lezione che ho imparato da Croce, nulla di quello che gli uomini fanno è veramente disinteressato: laddove non c'è un minimo di guadagno personale, statene certi, chiunque gira al largo! Anche la solidarietà implica un'attrattiva individuale, quale può essere l'intima gratificazione per chi la fa...Infine, let me define the parallel sublime cross between love and artistic expression. And 'perhaps one of the things that struck me most of the philosophy of the Cross: his thoughts, to everyone in terms of linearity and simplicity, are set with small gems enrich his poetic speculation without weighing it down, even further clarified. But it's time to talk about "our" Cross
- Art for art -
"The poetic expression of love can pierce the object of worship and love and be treated no more as an expression, but as something that is sought for, by, as they say, art for art's sake.
Like any love, this has also founded on the reality of a need, and, in his case, of poetic expression, but like any love takes place beyond, and even without and against, satisfying the original need. So how do you love, and love seriously, women who do not have any desire to own, feeling that would be lost possession in the best or all of the love and the spell will break.
[...] But, pausing for poetic expressions of love, it, like any other love, and the contact for the presence of the beloved, and therefore you worship and practice of those expressions, not only without anything of their own to transform into beauty. Something similar is found in the circle of thought, where we sometimes toyed with the thought for thought, that the logic for logic, as in the case of sharpness and riddles, and partly in the subtleties that likes to multiply , of the detailed and lengthy arguments superfluous like to play in all their steps, enjoying his own cleverness, and pull far enough to mention.
love and look for things such poetic expressions or (here is the same) as people try to say the pictures off their relationship, detached and abstract, and caress and admire them and stop them in articulate sounds, attending to the perfection of each of them. That is what you see in the pages of the virtuous art for art, so perfect in every detail to move forward and discomfort in the spirit of a poet, who is ready to throw away all to express themselves "without perfection" (ie very different from that perfection ). Why so much emphasis in each image, no art in that way that all the fund collects and mitigate the fund that could only generate a poetic life, and only give them size and proportions. It not only lacks the poetic background, but also the other forms in which literature and various content that is extrapoetico [ie, passions, impulses, interests of the artist as a man]. They are however, those individual images as idols, which he [or pseudo-artista, quello cultore della sola forma, destinato per questo a rinchiudersi nella più totale autorefenzialità] plasma e adora.
Per questa via s'intende anche in qual modo si venga determinando una sorta di teoria dell' "arte per l'arte" a uso di quei critici che pretendono di trovare e spiegare la bellezza di un verso, che è bellezza spirituale [ovvero nella vita, nella contingenza, nella concreta ed ineludibile necessità di esprimersi che l'artista sente quando è gravido di ispirazione], nei suoni per sè, negli accenti, nei ritmi, nella "musica", come la sogliono chiamare, dimostrando, in questo lor dire, scarsa stima, non tanto della poesia, quanto della musica stessa. [...] In questi casi difetta l'amore e, con l'amore, la capacità di dare alle proprie opere quella verità e quella bellezza che pur sono in grado di conseguire. L'arte per l'arte non è che un innamoramento tra gli altri innamoramenti, una servitù d'amore tra le altre servitù d'amore".
I do not like self-congratulation. But a degree is still a degree, to heck! So here I am, to give you a "starter" of my dissertation, which focuses on the aesthetics of Benedetto Croce, who did not hesitate a moment to identify as my ideal philosopher (although it is aware of the wishful thinking that there is behind the idealization and emulation: we always end up chasing someone, inevitably, will never achieve).
extract that soon I will propose is an excerpt from a work of 1933, "The poesia", in cui Croce riesamina e puntualizza i concetti fondamentali della sua estetica (che troverete riepilogati sinteticamente nella mia tesi, ovviamente se ne avrete voglia). Croce prende in considerazione il famigerato luogo comune dell' "arte per l'arte", ovvero dell'amore disinteressato che ogni artista dovrebbe avere rispetto al proprio ufficio sacro : l'espressione. Tuttavia, ed è un'altra lezione che ho imparato da Croce, nulla di quello che gli uomini fanno è veramente disinteressato: laddove non c'è un minimo di guadagno personale, statene certi, chiunque gira al largo! Anche la solidarietà implica un'attrattiva individuale, quale può essere l'intima gratificazione per chi la fa...Infine, let me define the parallel sublime cross between love and artistic expression. And 'perhaps one of the things that struck me most of the philosophy of the Cross: his thoughts, to everyone in terms of linearity and simplicity, are set with small gems enrich his poetic speculation without weighing it down, even further clarified. But it's time to talk about "our" Cross
- Art for art -
"The poetic expression of love can pierce the object of worship and love and be treated no more as an expression, but as something that is sought for, by, as they say, art for art's sake.
Like any love, this has also founded on the reality of a need, and, in his case, of poetic expression, but like any love takes place beyond, and even without and against, satisfying the original need. So how do you love, and love seriously, women who do not have any desire to own, feeling that would be lost possession in the best or all of the love and the spell will break.
[...] But, pausing for poetic expressions of love, it, like any other love, and the contact for the presence of the beloved, and therefore you worship and practice of those expressions, not only without anything of their own to transform into beauty. Something similar is found in the circle of thought, where we sometimes toyed with the thought for thought, that the logic for logic, as in the case of sharpness and riddles, and partly in the subtleties that likes to multiply , of the detailed and lengthy arguments superfluous like to play in all their steps, enjoying his own cleverness, and pull far enough to mention.
love and look for things such poetic expressions or (here is the same) as people try to say the pictures off their relationship, detached and abstract, and caress and admire them and stop them in articulate sounds, attending to the perfection of each of them. That is what you see in the pages of the virtuous art for art, so perfect in every detail to move forward and discomfort in the spirit of a poet, who is ready to throw away all to express themselves "without perfection" (ie very different from that perfection ). Why so much emphasis in each image, no art in that way that all the fund collects and mitigate the fund that could only generate a poetic life, and only give them size and proportions. It not only lacks the poetic background, but also the other forms in which literature and various content that is extrapoetico [ie, passions, impulses, interests of the artist as a man]. They are however, those individual images as idols, which he [or pseudo-artista, quello cultore della sola forma, destinato per questo a rinchiudersi nella più totale autorefenzialità] plasma e adora.
Per questa via s'intende anche in qual modo si venga determinando una sorta di teoria dell' "arte per l'arte" a uso di quei critici che pretendono di trovare e spiegare la bellezza di un verso, che è bellezza spirituale [ovvero nella vita, nella contingenza, nella concreta ed ineludibile necessità di esprimersi che l'artista sente quando è gravido di ispirazione], nei suoni per sè, negli accenti, nei ritmi, nella "musica", come la sogliono chiamare, dimostrando, in questo lor dire, scarsa stima, non tanto della poesia, quanto della musica stessa. [...] In questi casi difetta l'amore e, con l'amore, la capacità di dare alle proprie opere quella verità e quella bellezza che pur sono in grado di conseguire. L'arte per l'arte non è che un innamoramento tra gli altri innamoramenti, una servitù d'amore tra le altre servitù d'amore".
Tuesday, October 19, 2010
Tropical Paint Colors
GeoHot yet found a flaw in BootRoom ... Jailbreak virtually assured for the fifth generation of iDevice!
As already confirmed
As already confirmed
GeoHot used an exploit Comix, the author of Jailbreakme to create LimeRain : the universal tool for release device of the third and fourth generation.
Geo One wonders why he has behaved this way, even being able to do the job alone ... The answer comes directly from
Comix revealing that Geo has preserved for future exploits iDevice!
We are at a historic achievement in the history of jailbreak: all devices on the market were Jailbreak and hackers exploit in BootRoom 2 in Serbian and many other small and correctable in the software. The jail
fifth generation of devices is virtually assured!
Geo One wonders why he has behaved this way, even being able to do the job alone ... The answer comes directly from
Comix revealing that Geo has preserved for future exploits iDevice!
We are at a historic achievement in the history of jailbreak: all devices on the market were Jailbreak and hackers exploit in BootRoom 2 in Serbian and many other small and correctable in the software. The jail
fifth generation of devices is virtually assured!
What Gauge Is A Regular Size Saftey Pi
Apple Store in Turin, three employees were dismissed without reason. Here is the entire interview.
MILAN - "We have even asked her out the back door." And why? "They did not even explain it." Marco Savi, 42, worked at the 'Apple Store Grugliasco, in Turin. It was part of the team of employees during the festive opening of the last month (and days following) welcomed the crowd of fans of Mac and iPhone. The employment with the bitten apple was, for him, a sort of dream come true: "It's always been my passion, "she says. A month and a half later, however, came the bitter surprise.
"I was fired along with two colleagues before it ended the trial. " Nothing illegal, then. "The problem - adds Savi - is that no one has deigned to give us a valid reason." Possible? "I have said that not only address customers a" warm greetings "and thought that I was not aligned with the Apple." And what does this mean? I do not know. The only thing I can say is that sometimes, at meetings in the morning, I found myself to make some simple observations on the functioning of our history, but always with a positive attitude. I never questioned the company's philosophy. Perhaps, however, have been seen as a nuisance. "
IN TEST - Savi criticizes the conduct of its (former) manager (which I actually prefer not to comment on each other, as well as Apple). 'People in the leg, for heaven's sake. But they come from experiences that have little to do with the technology and Apple products. They, too, among others, are being tested. Manager in prova che si sono trovati a gestire, e giudicare, personale in prova. Il giorno dell'apertura siamo stati mandati allo sbaraglio. In pochi sapevano usare le casse, i Pos non funzionavano, per fare un finanziamento ci volevano ore. Ci siamo trovati di fronte a clienti incavolati costretti ad attendere a lungo prima di completare un acquisto». E lei ha segnalato questi problemi ai suoi capi. «Ho fatto quello che dovevo, per questo mi sento in pace con la coscienza». Non è che invece ha combinato qualche casino? «Per carità, non sono uno di quelli che rompono le scatole. Io ero felice di quel lavoro. Tutti i giorni mi facevo 75 km in auto per andare e 75 km per tornare. Sono entrato alla Apple perché quella è la mia passione. A kind of myth. I never did anything against a company that I continue to appreciate even now, despite what has happened. On one evening to morning, however, I was sent away. I would at least understand why. " Maybe they have not considered suitable for the job. "I would have accepted, if I was given a valid explanation. Or maybe you could let me know, let me know what the context of my behavior. Instead I keep wondering what did I do wrong. " And now? "I wait for someone from Apple will face live. Then we'll see. " He heard his former colleagues? "Yes, I am told that the work atmosphere is very tense. Among other things, they just distributed the evaluation forms on the manager. After what has happened, do not know precisely how to behave. "
STUDENT - Even Alessandro Montagner, 22, was fired from the Apple Store in Grugliasco during the trial period. The refrain, as we see clearly La Stampa (who uncovered the story), is the same: "I have not been given any valid explanation." According to Young, however, the decision in this case was linked to his decision to attend the European Institute of Design (IED). Incompatibility of schedule, perhaps? "Not at all - sure - I could handle. And then I had warned the company since the first interview work. I was told that there would be no problems. Indeed, they were happy to promote the professional growth of employees. " Things, apparently, have turned out differently. "One day I was summoned to the office and I have announced their intention not to reconfirm. No one has explained why. " It is also released her from the back? "I have asked. But I preferred to leave the front door. Walking Tall. "
STUDENT - Even Alessandro Montagner, 22, was fired from the Apple Store in Grugliasco during the trial period. The refrain, as we see clearly La Stampa (who uncovered the story), is the same: "I have not been given any valid explanation." According to Young, however, the decision in this case was linked to his decision to attend the European Institute of Design (IED). Incompatibility of schedule, perhaps? "Not at all - sure - I could handle. And then I had warned the company since the first interview work. I was told that there would be no problems. Indeed, they were happy to promote the professional growth of employees. " Things, apparently, have turned out differently. "One day I was summoned to the office and I have announced their intention not to reconfirm. No one has explained why. " It is also released her from the back? "I have asked. But I preferred to leave the front door. Walking Tall. "
You can not say that they were polite ... what is your opinion?
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