these days I messed a lot with the cloth with a technique called collage of fabric and look a bit 'what came out? ? an album for the photo and frame ... the frame is my favorite! what do you think??
Tuesday, November 23, 2010
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. 
Appointment then you all for an unmatched record of plays.
Subscribe to:
Posts (Atom)