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A theory on how language evolved:
Synesthetic Bootstrapping Theory
Forwarded from a hook into an eye
"Better never means better for everyone. It always means worse, for some."
Just as water is the element of fish, the element of human beings is language.
— Maurice Merleau-Ponty
— Maurice Merleau-Ponty
The greatest minds are capable of the greatest vices as well as the greatest virtues.
— René Descartes
— René Descartes
Forwarded from a hook into an eye
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If I had to define a major depression in a single sentence, I would describe it as a "genetic/neurochemical disorder requiring a strong environmental trigger whose characteristic manifestation is an inability to appreciate sunsets.
(Robert M. Sapolsky)
If I had to define a major depression in a single sentence, I would describe it as a "genetic/neurochemical disorder requiring a strong environmental trigger whose characteristic manifestation is an inability to appreciate sunsets.
(Robert M. Sapolsky)
Forwarded from خطّ يخطُّ
Forwarded from a hook into an eye
It's up to brave hearts, sir, to be patient when things are going badly, as well as being happy when they're going well..
For I've heard that what they call fortune is a flighty woman who drinks too much, and, what's more, she's blind, so she can't see what she's doing, and she doesn't know who she's knocking over or who she's raising up.
For I've heard that what they call fortune is a flighty woman who drinks too much, and, what's more, she's blind, so she can't see what she's doing, and she doesn't know who she's knocking over or who she's raising up.
Politics is the art of after-the-fact* rationalization.
*Latin: post-hoc
*Latin: post-hoc
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Politics is the art of after-the-fact* rationalization. *Latin: post-hoc
A politician first conceives an agenda or an objective, then he or she rationalizes it and makes it sound as if it is being implemented for the benefit of the people. It's not a feature of Iraqi politics, but of politics as such.
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For example, the bronze sculpture of Parvati, which dates back to the twelfth century A.D., is regarded in India as the very epitome of feminine sensuality, grace, poise, dignity, and charm—indeed, of all that is feminine. Yet when the Englishmen looked at this and other similar sculptures, they complained that it wasn’t art because the sculptures didn’t resemble real women. The breasts and hips were too big, the waist too narrow. Similarly, they pointed out that the miniature paintings of the Mogul or Rajasthani school often lacked the perspective found in natural scenes.
In making these criticisms they were, of course, unconsciously comparing ancient Indian art with the ideals of Western art, especially classical Greek and Renaissance art in which realism is emphasized. But if art is about realism, why even create the images? Why not just walk around looking at things around you? Most people recognize that the purpose of art is not to create a realistic replica of something but the exact opposite: It is to deliberately distort, exaggerate—even transcend—realism in order to achieve certain pleasing (and sometimes disturbing) effects in the viewer. And the more effectively you do this, the bigger the aesthetic jolt.
In making these criticisms they were, of course, unconsciously comparing ancient Indian art with the ideals of Western art, especially classical Greek and Renaissance art in which realism is emphasized. But if art is about realism, why even create the images? Why not just walk around looking at things around you? Most people recognize that the purpose of art is not to create a realistic replica of something but the exact opposite: It is to deliberately distort, exaggerate—even transcend—realism in order to achieve certain pleasing (and sometimes disturbing) effects in the viewer. And the more effectively you do this, the bigger the aesthetic jolt.
So works of art are not photocopies; they involve deliberate hyperbole and distortion of reality. But you can’t just randomly distort an image and call it art (although, here in La Jolla, California, many do). The question is, what types of distortion are effective? Are there any rules that the artist deploys, either consciously or unconsciously, to change the image in a systematic way? And if so, how universal are these rules?