Pokemon Dawn Booobies

Artistic creation as a cognitive process. Presentation

In my first speech on " artistic creation as cognitive process" have passed now some months.

In the meantime I tried to place the mine - somewhat confused - ideas. I wondered if the whole theoretical apparatus really had any sense, or whether it was, as often happens, only the result of my suggestion.

Is it really possible to be able to speak in a "general" (or, as it were, enlarged), a phenomenon inseparable from individuality, such as artistic creation? Also: You may be able to explain the art from the perspective of cognitive authoring of the subject?

This certainly discouraged me and distracted me from work. The challenge seemed insurmountable, and the fear of being publicly denied continued to grow every day. Too many holes, too many mistakes, too many inaccuracies. Arbitrary and personal ideas.

Not long ago, however, I came across by chance in a sentence of 'Atlas Philosophy of Holenstein (probably one of the most important works of philosophy in the last 10 years) where it says specifically that:

"Creativity is a phenomenon unclear. (...) For the biology requirement is crucial because new elements are born the geographical isolation of a population. In human cultures, however, develop creative originals are often the result of proximity and contact, trade and communication with other cultures . "

read this galvanized me and I started working on the project with new force of work and patience.

Holenstein admits that the creative phenomenon has not yet been properly explained, at least not from the perspective of the subject.

If, as I believe, is now proven that the cultural richness of an entire population is more dependent social relations it has with other cultures (historically, in fact, are precisely the periods of intense commercial and cultural exchange to create the conditions suited to an intense and unpredictable artistic flowering - see ages 5, 12-13, 17, 19), it is equally true that we have properly investigated the preconditions that ahead of artistic creation at the individual level .

Moreover, reading the most diverse and often disparate artists distant in time and space (especially in their most intimate writings, those not directly aimed at publication), I realized that the logical grid of speculation that I proposed to explain the phenomenon of artistic creation, in many cases could match up with the ideas and feelings expressed there.

this unexpected symmetry also gave me a new desire and curiosity to develop my thesis, correct and free from personalities, in a constant counterpoint between reading and formulating a rational scheme to better understand the phenomenon of artistic creation.

That "as cognitive process" should not be construed as wishful thinking or theoretical scientific pretense, far from it.

We know that the causes and contributing factors of artistic creation can not be caged in a single grid and infallible logic, nor can they be explained once and for all.

Something escape for all to every rationalization.

The mention of this cognitive process will emphasize the individual size of our research and our attention: the subject is not in this case the movement artistic supra, on the contrary, the single subject authoring.

I would point out also that everything you read should not be regarded as nothing more than an experiment, a draft or a draft work still in progress .

The theme is truly immense, and my forces are unequal compared to the size of study needed to properly investigate some of the dynamics are extremely complex, in addition, an extensive study of the topic would require a time longer than we can afford to simply as "amateurs."

One more thing: whenever I use the adjectives "my" or "our", I refer either to the joint work of Elia Tazzari and myself. His valuable comments and his work were vital to honing intellectual, and his indispensable support. It helped me to develop a most comprehensive and mature, adding its strength in cases of contradiction theory.

is indeed fortunate to have a mind so sharp and different from yours, a culture so vast and solid, and yet be able to discuss a free and exciting, at par. Thanks again.

Nomoto Inspection Machine

"Insects teach us about what is most high in nature."

- Rudolf Steiner

Collections from the "Anthroposophical Publishing" in a single volume entitled "Bees", the eight lectures given in Dornach (Switzerland) from 26 November to 22 December 1923 provide further insight into the original cosmic vision of Steiner, who chose here to investigate the phenomena related to the world of bees, wasps and ants in the light of Spiritual Science.

public lectures in Italy and abroad were taken by a shorthand writing ever revised by the author, who warns us that "Whoever reads these texts can fully accept them as what 's Anthroposophy has to say .. It should however be borne in mind that the texts I will not be reviewed are errors. "The conference dedicated to the theme of bees are part of a wider series of meetings designed for workers Goetheanum, which were discussed different aspects of thought Steiner, chosen from time to time by the assembly workers ; emerges from these "dialogues" as defined by Marie Steiner, the Austrian occultist second wife, a special interest in the therapeutic and hygienic side of life, as if to underline the practical importance of certain concepts in the world of work.

Steiner begins by explaining the differences that exist among the inhabitants of the same hive (the radiance of the queen bee, whose development takes place in 16 days, returning in 25 days that meets the sidereal rotation period of the sun, the solar nature of the bee workers, whose development occurred on 21 days, exhausted all the influence of solar terrestrial nature of the kelp, which develops in 24-25 days and that, leaving the solar influence is introduced before adulthood in the evolution of land) and to address the fundamental issue of the spawning : only the queen bee laying in itself the full solar influence, is able to give evidence, while the workers who have exhausted the influence of the sun, and drones, totally terrestrial can not do the same.

From solar and terrestrial nature of the hive, from which they come to be double the working life of worker bees and the queen bee fruitful, the focus shifts to the importance of the force that permeates the hexagonal Earth and the creatures that derive their livelihood from it.

"When you go to the mountains, where they found the rock is harder, which is the hardest element, the quartz crystals. (...) When complete, have also closed down in the same way as above, but mostly are not complete, and arise from the rock, seem to grow from the rock (...). What does this do? It means that the earth is growing out of the crystals themselves, which are hexagonal and ending at the tip. So the land is given the power to set in a hexagonal shape. "

quartz crystals that emerge in all their strength from the walls of the mountains are also dissolved in the human body, whose internal structure prevents this juice quartz solidify. This stream of quartz, or silica, has a fundamental importance for humans.

Steiner part by the importance of silicic acid to get to illustrate the great benefit of a fair consumption of honey bees, which transmit to their hexagonal wax cells are able to synthesize the honey, rich in substance Allen strength and very helpful to those who are no longer able to adequately develop this energy.

Through the honey, the man in the right quantities can absorb the cosmic forces acting on the ground and attributable to the higher dimensions of reality and beneficial.

The importance of the universe land in the events is repeated several times by the philosopher who speaks, for example, about the nectar of flowers:

"When the sun's rays come from the area of \u200b\u200bAries, its strength may act to exercise full power over the flowers, causing them in the development of the sweet substance that occurs in honey. So the bees are. However, if the Earth is to have the preponderance of power, because the rainy season, the flowers can not grow under the rays of the sun coming from the air, they have to wait till later or are interrupted in the activity carried out so far, then the flowers not regularly produce honey and bees do not find it. "

Particularly interesting is the suggestion contained in the penultimate conference, dedicated to formic acid, about the evolution of our planet. Steiner focuses on the so-called "lunar", a stage of evolution, which takes its name from the earth that the moon would be a remnant of that ancient Earth (the Earth's evolution discourse is addressed specifically in de "Occult science in general terms").

At the time of lunar plants and insects did not exist in the form that we know them today, there was instead a series of plant-like vapor clouds moving constantly changing in appearance and were fertilized by a force " animal "from the environment. This old issue has been passed in the subsequent developments up to lead the fertilization system we know today, the bees and wasps, animals living in close harmony with nature and plants that are the heirs of those ancient cosmic energies agents from always on our planet.

Onyx Tile Installation Guide

The bees travel and the demise of geography. Istanbul. A virtual

" Maybe we love the place where we live because we have no other solution, such as family. But we must find out where and why love him. "

Orhan Pamuk, Istanbul

I dedicate this posting to Gec, Bern and Rabbo,

teşekkür

In his book

Istanbul, Pamuk likes to mix her childhood memories and personal life and collective memories of city life.

Write a city still poses a fundamental problem, which is inevitable: how to avoid the risk of confusing the memories and impressions with private memories and public impressions? That is: how can a person just talking about a group of individuals?

Pamuk avoids the problem openly confessing his partiality talking about his life in his Istanbul: play and confuses the two plans to incorporate the city itself, or vice versa, so that, ultimately, we can not tell if the book we just finished reading a book or a book on Istanbul Pamuk.

Perhaps this is why the author felt the need to equip its pages with photographs of the city, as if the reader does not want to forget it's there, and lives there today, not only through the memory of one of its nationals.

Pamuk was in need of an infallible and unforgiving look like a camera to justify his writings, and found in shots Ara Güler the perfect visual counterpoint of his words.

It is in particular one of these words used by the writer who seems to establish itself as a privileged access key to an understanding of an entire city and a civilization: Hüzün , Italian in sadness.

As the wail of the muezzin, the word is repeated and returns throughout the book Pamuk takes thickness and importance every time I encountered in reading; sticks to the city name Turkey to the point of not being able to be more uniform.

Hüzün is the feeling of Istanbul and its inhabitants .

born with the fall of the Ottoman Empire, with the loss of wealth and the end of the age of gold, the feeling of loss and defeat, was born with the process of Westernization that Atatürk wanted to attempted to forcibly remove a non-Western culture, and the resulting sense of loss and disorientation.

In Istanbul, everything has remained in the mid , incomplete, defeated; Pamuk writes.

A city remained poised between two traditions, as well as remains poised between two continents.

The special continues Pamuk, this incompleteness is that the people of Istanbul gave a chance to see their city now with Oriental eyes now with Western eyes, to see at the same time the poverty of the districts poorest and the picturesque beauty of the antiquities in ruins, to understand their misery but also to appreciate the superb beauty of one of the most beautiful in the world.

sadness (not to be understood, like we Italians, in a completely negative, as a feeling to be deleted) created by these conflicts and seems to spread throughout the city, on the faces of people in exceptional photographs by Ara Güler in the streets of Sultanahmet going down to the Marmara Sea, dotted with skeletons of old wooden Ottoman houses.

And I, as a Western visitor, what I observed in the capital of the East? How do I enter a city so big and important in my speech on the progressive loss of a geography and a sense of the journey?

I think, in these last few years, Istanbul is experiencing a ' wave of political and religious reactionary .

The secularization (as debatable and debated) of Ataturk and the '50s and '60s, now seems forgotten, as well as the desire of Westernization that was rampant in those years in intellectual circles.

Today Istanbul seems to lean more towards a conservative Islamic East and strongly than that of a reformer and a secular West - to understand a West European. This is not necessarily a threat to us or a sin for them.

The fact that Europe still seems very far from Istanbul.

This imbalance, however, allows the city to preserve its tone, not to be entirely hegemony by tourists and, except in the usual areas where the city ceases to be a city and becomes a colony (mosques, Grand Bazaar , Topkapı), to maintain its own strong identity.

The southern part of Sultanahmet in near Ku Ayasofia Cuk, is a stunning beauty: between the maze of narrow streets and ruins, the time does not seem to be past their childhood years of Pamuk: Still the same fruit peddlers carrying their hand-carts overflowing peaches and apricots ("Bursa! Bursa"); the same wooden houses, some burned, others wrong and in poor condition, the ancient ruins that are mixed with the city (Theodosian walls in illegal parking) and the same old men sitting in bars sipping tea and talking in a language that is incomprehensible.

The same applies to the area Cihangir, a maze of streets perched on the hill, full of mossy staircases, abandoned houses, dozens of stray cats miagolanti, on roofs and terraces, where the small shops, turkish aside, you can express yourself only with gestures, and breathtaking views at every turn wherever you look upon: to the Bosphorus, the Asian shore silent on the horizon - to the Golden Horn, the Genoese Galata tower, the old town and the peak of its minarets.

None of this is tens of kilometers away from downtown, but in the richest area of \u200b\u200bthe city, just below the district of Beyoğlu and Taksim Square.

In these areas still living past and present, in the "random beauty" (according to Ruskin synonymous with picturesque) of the ruins, graves and old houses, and you feel lost, but now seems to be in the center of Genoa, now a suburb of Naples seems that you have before, and now a citizen of the Balkans, but now a big European city, maybe Paris, maybe Berlin.

But then you realize that it is none of these cities, and you understand that watching the sunset over the Golden Horn, peering from above the city, enjoying the rhythms of the precise and elegant minarets and domes of the Galata Bridge is still crowded with fishermen and tourists, the sparkling Bosporus boats and oil tankers.

pain, says Pamuk. A sadness, a figure typical of the town, preventing residents to react, and is transmitted like a virus.

Perhaps now is time for Istanbul to digest this feeling, let it slip in nostalgia for a past that is so remote as gold, and look for a new road.

is time to harness the immense vital forces of this city and its new generations to improve their living conditions through a process that could take years, and some of which we can not provide the courses, but that certainly goes for a greater awareness of their potential and their own history.

Ucla Supplemental Questionaire

channel card in the taxi drivers regardless of the small boats, rowing boats and any other vessel, with perhaps, especially on Saturdays and Sundays, loaded with entire families who want to reach for a while bacan 'to cool off), dart to 35/40 km / h and they forgot the banning of 20.

The municipality does he? It allows 17 more licenses!
course greens, that are part of this City Council, remain silent! proving once again look like watermelons: green outside red inside.

Recovering From Viral Pleurisy

moral?

Imagine living in a city completely normal (it has certainly streets and squares, shops, markets, brothels, amusement parks, everything you need, really) except for its strange characteristics.

Every move you make, every decision you make, every step of the path and met every person, every dish eaten in every restaurant visited every shop window and admired each dress tried it, all your outgoing with friends or her friends, in short, everything - your whole life is miraculously transcribed by an unknown scribe, who, alone in his tiny office, follows all your movements and record them accurately.

not mistake a comma. He knows all about you: his job is to write the story of your life in the words of your actions, such as working on one huge novel, indeed, a biography: yours.

writers who say that there are many citizens of this strange metropolis (I have not talked about his size? Massive), and that they are so fast and so good at finding their information, to be able to write down your movements in real time.

They work simultaneously with your life, as if they were chroniclers of your silent hours.

So, thanks to their efforts, you can know everything about every single person in the city, what did the hour x, y with the speaker in the minutes of the day z.

is - now imagine that all that I have just described a hellish parallel universe and unbearable, is already around you, ready-made. And we already live.

small differences: the writers do not exist, you yourself, network users that, as you might think they are invisible in this virtual world, in reality it is as if you walked on the snow.

The problem of control over the Internet is one of the great Gordian knots of our time. A dilemma of paramount importance that we must be ready to melt in some way.

As a new Benthamite Panopticon, on the network we are all prisoners, and we check each other and we all also tested, without know who and where the controller. The detention perfect.

- What do you mean holding, it is at the bottom to hold a virtual life as a virtual subsidiary. Not to worry too much. Shut down your computer, problem solved. Do not fall into the traps of Facebook and Twitter, you no longer have to complain about, so stop complaining now with this highbrow. And then, after all, a little 'control never hurt anyone.

Never problem was less abstract and highbrow than that.

The crucial point is, in my opinion, you have to stop thinking about real life and virtual one as two completely independent and separate lives . No longer.

Bittanti writes in an essay contained in Year Zero [Charles Antonelli, ed, ISBN Editions, 2009], at the end of the process socialization of the Internet, "[life virtual] ultimately affect my behavior in real life."

(Which one is more real than the other end, we let the readers decide.)

If so, at least in theory, should be consider the virtual life in the same way of life being lived, then admit the legal equality of the two.

Just as we have rights and responsibilities in 'real life' we have rights and duties similar if not equal, in the 'virtual life'.

Therefore, further deepening:

a) consistency, as it were, ontological virtual is not a mitigating factor that could induce stand the suffocating control and Bentham that govern our social relations on the Net;

b) also, and above all, who does not use the web services is drawn into question: primarily because it has less chance defense of privacy with respect to those who know use, and secondly, because today there is no western of my generation who can be called out of the digital phenomenon.

c) the possibility of a 'virtual moral', pass me the bad combination, is swept away by the merger of the control which we are subjected. Because be under control does not make us moral, the all-pervasive surveillance network is outright immoral , perhaps even harmful to our relationships and our habits - surely dangerous and disturbing.

(It would take another paper to explain this last point, which was suggested to me from reading an article by Emrys Westacott "Morally Does surveillance make us better? " [Philosophy Now, Issue 79, 2010] and a now famous speech by Nick Harding , written in 2008.)

If you think about it, the problem I have outlined in these lines, is a classic dilemma of political philosophy: the dichotomy between justice and freedom .

We have the guidance of the immortal texts to better understand this intractable problem: on one hand the necessary freedom of the individual to rise above all law, not the other less necessary laws that rise above all individuality.

Today we talk about privacy and security, and the dilemma is not yet fully understood (see under: wiretapping and the fight against anti-Mafia).

The Busillis is that, for the first time, is proposing a similar problem in an area not previously exist, and that only recently (just over six years) has started to investigate seriously: the scenario virtual.

How to untie the knot? The old texts of political philosophy are still relevant today? Their arguments are also applicable in these cases (totally unexpected and improbable at the time of publication) or not?

I think just yes - with some of the distinctions big ones - and lean, a choice dictated by anything other than from my upbringing and my character, to give priority to the empowerment of the individual (or rather, the user) with respect to efficiency and the pervasiveness of the apparatus of control.

Perhaps the key problem lies in being able to bring further virtual life to that experienced, so that even without the deterrent of control, the user moves in the virtual environment in a 'moral' - perhaps relying on concept of identity, and provide a virtual identity at all, completely unrelated and independent from the real one, but absolutely unique, to be used as a document on the Net

Instead of control, responsibility.

From this it does not, in any way, which would be required to match the two lives. It would be dangerous for our sanity.

Although Bittanti always reminds us, " (...) schizophrenia is the conditio sine qua non of the digital . "