Context and Relevance Frames for variant Perspectives, Historical Criticism and Authentic Voice.
Aesthetic Judgment is a corollary of organic Intelligence, whose Model is Instinct and whose Practice is enriching Survival. No bird builds a nest, nor sings, nor courts without such expertise of Experience. How less any terrestrial existence?
Originally posted on Human Extension: An Alternative to Evolutionism, Creationism and Intelligent Design:
Though I don’t usually address Darwin’s views or theories, since they are largely (but not wholly) outside of the social sciences and humanities (SSH) in which my work is based, the following quotation from Darwin’s autobiography serves as a lesson in what Darwin gave up and later regretted on his scientific journey:
“Up to the age of thirty, or beyond it, poetry of many kinds, such as the works of Milton, Gray, Byron, Wordsworth, Coleridge and Shelley, gave me great pleasure, and even as a schoolboy I took intense delight in Shakespeare, especially in the historical plays. . . . But now for many years I cannot endure to read a line of poetry: I have tried lately to read Shakespeare, and found it so intolerably dull that it nauseated me. …
This curious and lamentable loss of the higher esthetic tastes is all the odder, as books on history, biographies…
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Originally posted on ENVIRONMENTAL ENERGETICS:
TED’s Chris Anderson censored Rupert Sheldrake, along with Graham Hancock, and removed this video and Hancock’s from the TEDx YouTube channel. They dared question the mainstream Scientific Orthodoxy, and for that they have been publicly questioned, ridiculed and defamed. Watch the video and decide for yourself is what Rupert Sheldrake is talking about is too controversial for the mainstream.
Before proceeding to the aforementioned next contribution here: “Personal Value and the Existential Field,” and in light of the little “Content Demonstration” regarding Personal/Institutional Value in historical context of three years at Google, we bear a few more abstractions, try step-back, and see everything thus far in the Round, reflecting a Paradigm enclosing the rest.
We consider here that obtaining to this is, quite literally, to mirror an act of cognitive/affective synthesis, albeit transcendental and having a strong aesthetic urgency, involving what we once humorously termed an: “etiology of praxis;” discovering our Models, differentiating our analytic, and finding Cause as Moment, ideationally (rational) and sensationally (instinctual), in the Sphere of our Existential Field. (Sphere is to EF what Coin is to Obverse/Reverse Causal relation, while our Moment here is to Time what Time is to Space in Kant’s system.)
The Synthetic Paradigm, or momentum being actuated, remains an aesthetic sensibility that then becomes a literal and virtual Thing (Art), as that Observing is, in effect, that Observed; mirroring while affecting Moment to determine forcefully, emotively as some would have it, the Cultural Artifact and zeitgeist complex, whether principally determined personally or institutionally, having inherent or adherent Telic (instinct/reason), intensive or extensive Actuality (Dynamic) with implicit (tacit?) or explicit Identity, satisfying our Field Categories for the Objective/Subjective EF Differential Analysis given as our prelude to the “Models of Agency,” first projected in our “Prolegomena to the Models of Agency” preceding, Intelligence leading the way forward (organic/mechanic) and principally formative but cooperatively instrumental in the evolution of all variations of perceptive brilliance within and upon the EF. (“Repunzel, Repunzel: Let down your hair!”)
Still, before proceeding, one term should at least be acknowledged, or more carefully observed, whose unusual duplicity of reference to frames, (dual directional momentum, creating Value Vectors (VV)), can be describe as: AGENDA.
Still observing how much this Steerage crowds-in upon the Moment, sometimes unwillingly or exhaustingly imposed from without, or inspired from within, sometimes as an unwilling mind, focused upon the (demanding?) sense of some Event Stream, each Moment either Passing, Past, Now or Next; Maneuvering, Ordering, Building-up/pulling-down; thence Sustained against opposing, or kept with complimentary, winds, the heart and mind endures…”ships hurled upon raging storms, sometimes pressed-on, forlorn, the strong waves beating.” ~OH (p.39)
What is treated of in that following: PVEF, consists of all that preceding of Agency, Orientation, Interest, Perspective, Perception and Volition, that FRAMES the Models of Agency in the PMA and gives Impetus to every Event Stream (ES) any one can, has and will encounter.
Here would be the Marriage of our Objective and Subjective Paradigms, lending it forward to determine the outlines of our Transcendental Aesthetic/Synthetic Paradigm(s), resolving our Personal and Institutional Scope of Being into their various Telic or zones of influence with vectoring Values (differentiated) comprising the Moment, for Good or Ill. See the revolving brilliance of a newly minted silver coin, and perceive the clock-like wheel upon which your perspective turns to observe.
If successful, our attempt here to give Voice to this Other Paradigm may prove Cause as harbinger of a New Earth, of a New Heaven (too painfully Witnessed), the former rolled-up like a Scroll and the utterly unspoken made a new Dawn.
The Stage is set…the Orchestral Sphere rings…Dancers prepare and Magisterial Characters rehearse…from Farce to Comedy to Tragedy, some Utopian shores to traverse, at last. Adieu.
Aesthetics, Tragedy, and Primordial Being
Originally posted on fluxofthought:
The goal of this post is to put onto ‘paper’ some thoughts regarding Nietzsche’s rendering of tragedy in The Birth of Tragedy and the way in which tragedy functions in Plato’s The Republic. I have prepared these thoughts within the context of writing a paper on Nietzsche and Bloch and preparing the syllabus for the introduction to philosophy course I am currently teaching at California State University Bakersfield. As I am now unable to produce anything like a lucid non-academic blog post, I have chosen to write this in essay format.
The confrontation Nietzsche seeks throughout his project with the figure of Socrates, I argue, is summarily available to his readers through the way in which Plato construes tragedy negatively as an inappropriately imitative form of art. My thesis is that Plato’s censorship of particular genres and modes of storytelling reflect the positive content Nietzsche locates within tragedy…
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