July 2010
56 posts
The distinctions between inside and outside, and between virtual and non-virtual realities, that an observer may make do not apply to the operations of the nervous system. The distinctions between perception and illusion, or between virtual and non-virtual realities, pertain to the operation of the observer as a languaging being.
Our being as human beings occurs in languaging, in the flow of our being in conversations. A human being is a dynamic manner of being in language, not a body, not an entity that has an existence that can be imagined independent of language and can then use language as an instrument for communication.
If we attend to what we do and to what happens with us when we participate in a conversation, we see that we live (dance) together in a flow of recursive coordinations of languaging and emotioning.
” —- Humberto Maturano.
via Scribd: The Biological Foundations of Virtual Realities and their Implications for Human existence
(via jamreilly)Tony Soprano (via early-onset-of-night)
Love this show forever.
(via gadgetry)
(via popnihilism)
So quickly.
Let it cut more deep.
Let it ferment and season you
As few human
Or even divine ingredients can.
Something missing in my heart tonight
Has made my eyes so soft,
My voice
So tender,
My need of God
Absolutely
Clear.” —Hafiz (via paynehollow) (via saturnrising) (via rememo)
Nietzsche: (“Beyond Good and Evil,” 1886).
Your Move: The Maze of Free Will - Opinionator Blog - NYTimes.com
(via wildcat2030)
fuckyeahchemistry: Noun. A theoretical physicist is one that is postulated to exist, but has never been actually observed in the laboratory.
Dr. Mustafa Barghouti
-And as Zizek would point out. This method of describing subjective violence in a way which shows preference to one party (the state) is in fact a subtle, but no less potent act of violence in itself.
(via thebarstoolphilosopher)
(via popnihilism)
Nietzsche’s idea is that things and actions are already interpretations. So to interpret is to interpret interpretations, and thus to change things, “to change life.” What is clear for Nietzsche is that society cannot be an ultimate authority.
The ultimate authority is creation, it is art: or rather, art represents the absence and the impossibility of an ultimate authority.- Deleuze in ” Nietzsche’s Burst of Laughter”
on those points that appear to be the most ‘important’, ‘central’,
‘crucial’. Rather, I deconcentrate, and it is the secondary, eccentric,
lateral, marginal, parasitic, borderline cases which are ‘important’ to me
and are the source of many things, such as pleasure, but also insight into
the general functioning of a textual system.” —Jacques Derrida, Limited Inc. (1988)
(via gcso) (via popnihilism)
“There is no single, definitive “stream of consciousness,” because there is no central Headquarters, no Cartesian Theater where “it all comes together” for the perusal of a Central Meaner. Instead of such a single stream (however wide), there are multiple channels in which specialist circuits try, in parallel pandemoniums, to do their various things, creating Multiple Drafts as they go. Most of these fragmentary drafts of “narrative” play short-lived roles in the modulation of current activity but some get promoted to further functional roles, in swift succession, by the activity of a virtual machine in the brain. The seriality of this machine is not a “hard-wired” design feature, but rather the upshot of a succession of coalitions of these specialists. The basic specialists are part of our animal heritage. They were not developed to perform peculiarly human actions, such as reading and writing, but ducking, predator-avoiding, face-recognizing, grasping, throwing, berry-picking, and other essential tasks. They are often opportunistically enlisted in new roles, for which their native talents more or less suit them. The result is not bedlam only because the trends that are imposed on all this activity are themselves the product of design. Some of this design is innate, and is shared with other animals. But it is augmented, and sometimes even overwhelmed in importance, by microhabits of thought that are developed in the individual, partly idiosyncratic results of self-exploration and partly the predesigned gifts of culture. Thousands of memes, mostly borne by language, but also by wordless “images” and other data structures, take up residence in an individual brain, shaping its tendencies and thereby turning it into a mind.”
—
Daniel Dennett, Consciousness Explained, (tnx inwrdbound) (via amiquote)
Andrei Tarkovsky (1932-1986) firmly positioned himself as the finest Soviet director of the post-War period. But his influence extended well beyond the Soviet Union. The Cahiers du cinéma consistently ranked his films on their top ten annual lists. Ingmar Bergman went so far as to say, “Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.” And Akira Kurosawa acknowledged his influence too, adding, “I love all of Tarkovsky’s films. I love his personality and all his works. Every cut from his films is a marvelous image in itself.”
Shot between 1962 and 1986, Tarkovsky’s seven feature films often grapple with metaphysical and spiritual themes, using a distinctive cinematic style. Long takes, slow pacing and metaphorical imagery – they all figure into the archetypical Tarkovsky film.
Thanks to the Film Annex, you can now watch the complete collection of Tarkovsky films online – for free. Each film is listed in our Free Movie collection, but here you can access each major film in the order in which they were made.
- Ivan’s Childhood (1962)
- Andrei Rublev (1966) Part 2 here
- Solaris (1972) Part 2 here
- The Mirror (1975)
- Stalker (1979)
- Nostalghia (1983)
- The Sacrifice (1985)
FYI: Strictly Film School offers a short summary and analysis of each film. A big thanks to Eren Gulfidan (@gulfi) for the heads up here. And kudos to Film Annex for bringing this body of work online.
All Tarkovsky Films Now Free Online is a post from: Open Culture.