"The range of what we think and do is limited by what we fail to notice. And because we fail to notice that we fail to notice there is little we can do to change until we notice how failing to notice shapes our thoughts and deeds." (Ronald D. Laing)
terça-feira, fevereiro 14, 2012
mindfulness
"Porque o ter consciência não me obriga a ter teorias sobre as cousas:
https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-prn1/543164_481546045193709_1092679067_n.jpgn (Photo of Maciej Sokolowski)
Qual é a tua teoria?
:PPPppPPppPPpPPp
P.S.: « This is a remote forest in Western Poland, where 400 pine trees have grown with a curvature in their trunk structure and it turns out that no one really knows exactly what caused it. There are, however, a few theories:
1) The main theory seems to suggest that this is the result of human interference. It is believed that this is a tree farm and the trees were forced to grow horizontally in their youth to make a carpenters life easier. The curved shape can be induced by laying a heavy object over a young tree stem. Phototropism will cause the stem beyond the heavy object to grow toward the sky, while the growing stem beneath and behind the heavy object will develop what is called morphogenetic compression wood - which ultimately makes the curve in the stem permanent.
The problem with this theory is there is no evidence of a carpenter nearby and as the trees are relatively young (90 years) you would think someone would local would have some insight.
2) The other theory suggests that the curved formation is simply a result of heavy snow load combined with a long spring melt. The trees become photosynthentically active as the angle of the sun increases during spring. With a snow load still on the stem during this period, compression wood forms as the trees grow; resulting in a permanent bend.
Again, another problem comes from this theory; why did snow effect just these 400 trees, rather than the whole pine forest?
3) A third expalnation could be soil creep; as colder temperatures pervade the area, the moisture in the soil freezes and expands, displacing the soil and anything not held fast in it (ie. saplings), then during the warmer part of the day, thaws and retracts. Over days, tiny saplings can be moved to angles ranging from just slightly off 90° to laying flat against the ground as if they had fallen. The saplings prefer very much to remain vertical, as their ability to be able to catch sunlight to keep photosynthesizing is dependent on it, so it will actually bend itself towards the sunlight, much like a sunflower turning its 'head' to face the sun. The result, these curved trunks of trees until they are old enough to grow straight up, and not be affected by soil creep. This phenomenon is most prevalent on hilly terrain, as the steepness of the slope causes for more drastic soil creep.
Once again; this theory falls short; the area is not particularly hilly, especially not to the extent of causing such a dramatic curvature.
Is this one of life’s mysteries? What is your hypothesis?
"[...] An ant is crawling on a patch of sand. As it crawls, it traces a line in the sand. By pure chance the line that it traces curves and recrosses itself in such a way that it ends up looking like a recognizable caricature of Winston Churchill. Has the ant traced a picture of Winston Churchill, a picture that depicts Churchill?
Most people would say, on a little reflection, that it has not. The ant, after all, has never seen Churchill, Or even a picture of Churchill, arid it had no intention of depicting Churchill. It simply traced a line (and even that was unintentional), a line that we can 'see as' a picture of Churchill.
We can express this by saying that the line is not 'in itself' a representation1 of anything rather than anything else. Similarity (of a certain very complicated sort) to the features of Winston Churchill is not sufficient to make something represent or refer to Churchill. Nor is it necessary: in our community the printed shape 'Winston Churchill', the spoken words 'Winston Churchill', and many other things are used to represent Churchill (though not pictorially), while not having the sort of similarity to Churchill that a picture — even a line drawing — has. If similarity is not necessary or sufficient to make something represent something else, how can anything be necessary or sufficient for this purpose? How on earth can one thing represent (or 'stand for', etc.) a different thing?
The answer may seem easy. Suppose the ant had seen Winston Churchill, and suppose that it had the intelligence and skill to draw a picture of him. Suppose it produced the caricature intentionally. Then the line would have represented Churchill.
On the other hand, suppose the line had the shape WINSTON CHURCHILL. And suppose this was just accident (ignoring the improbability involved). Then the 'printed shape' WINSTON CHURCHILL would not have represented Churchill, although that printed shape does represent Churchill when it occurs in almost any book today. [...]"
Brains in a vat Hilary Putnam from Reason, Truth, and History, chapter 1, pp. 1-21 (Cambridge University Press: 1982)
TEXTO COMPLETO EM http://www.cavehill.uwi.edu/bnccde/ph29a/putnam.html
VIDEO: https://youtu.be/3AidpDgzou4?t=14m46s <- [2008] Jonathan Le Cocq (Senior Lecturer in the History and Philosophy of Music. He specializes in the lute and historical performance. He also is the Head of Centre for Music for Theatre and Film Studies at the University of Canterbury) in Big Ideas Forum: Protecting the Legacy of Freedom (panel, assembled by the Centre for Independent Studies, to discuss the topic: "Protecting the Legacy of Freedom: The Ideas of the Enlightenment in the 21st Century.") Alternative VIDEO source: http://library.fora.tv/2008/08/04/Big_Ideas_Forum_Protecting_the_Legacy_of_Freedom
Starting at t=14m46s:
Art and the Belief in Progress Through Reason and Art duration: 04 min 41 sec Art and Cultural Relativism duration: 03 min 17 sec Pierre Boulez, Karlheinz Stockhausen: t=22m30s Contemporary Art Not Part of Enlightenment duration: 05 min 02 sec Culture of Improvement duration: 03 min 46 sec
More information at http://library.fora.tv/2008/08/04/Big_Ideas_Forum_Protecting_the_Legacy_of_Freedom (Info, Bio, Chapters, Preview, etc.)
"[...] Pode dizer-se que os seus trabalhos são caracterizados por três interesses complementares: a arte conceptual, a performance e o existencialismo francês, nomeadamente de Jean-Paul Sartre. Isso não torna as suas obras plásticas um enunciado teórico; aquelas influências são antes uma consequência da sua prática criativa e da sua pesquisa pictórica. Na arte conceptual e na performance interessam-lhe as ideias de destruição do virtuosismo artístico e de artesania, bem como a tese avançada pelos conceptuais da obra de arte como acção no mundo; em Sartre importa-lhe o modo como a subjectividade e a existência são inseparáveis da relação com os objectos do mundo. O postulado, muito antecipador das actuais discussões sobre o novo realismo especulativo, é que existem objectos reais independentes da imaginação e do pensamento do sujeito, e que é a partir dessa relação com o exterior material e objectivo que se pode perceber/definir a existência subjectiva. As questões da relação entre o sujeito e o mundo material [...] Muitos destes objectos são esculturas feitas pelo próprio artista. A sua presença serve a John Divola como modo de contestar a pura virtualidade do espaço fotográfico e de afirmá-lo como real, concreto, material, tangível e, claro, experienciável. Para transformar estas obras não em documentos, mas em demonstrações do carácter equívoco e problemático do conceito de objectividade. Interessa contrapor a prática de Divola às ideias alemãs de objectividade: utilização abundante, quase exclusiva, de preto-e-branco, ausência de pessoas, longas exposições, etc. Um contraste que serve um debate fundamental da arte dos nossos tempos. [...]"
Estudo para Um Enriquecimento Interior, 1977 Tinta acrílica sobre fotografia p/b (6 elementos) 48,5 x 29,5 cm (cada) Col. Fundação de Serralves - Museu de Arte Contemporânea, Porto
http://www.serralves.pt/pt/museu/a-colecao/obras-e-artistas/?l=A#tabs2_11-html <- ALMEIDA, Helena
"[...] Até aos cinco anos, não. Depois pus-me a fazer perguntas muito irritantes para a minha mãe, as minhas irmãs mais velhas. "Porque é que a colher se chama colher?" Não encontrava que entre a palavra "colher" e a colher houvesse uma relação evidente. Claro que esta pergunta não tem resposta imediata, a não ser dizer que é uma convenção - o que não chega para nada. A vida humana é toda convenção. [...]"
12 comentários:
http://emnosehtudo.blogspot.pt/2006/08/as-coisas-so-o-que-ns-sentimos-que.html <- os primeiros anos... :p
https://www.facebook.com/photo.php?fbid=481546045193709&set=a.427991027215878.121441.427481527266828&type=1&ref=nf
https://fbcdn-sphotos-a.akamaihd.net/hphotos-ak-prn1/543164_481546045193709_1092679067_n.jpgn (Photo of Maciej Sokolowski)
Qual é a tua teoria?
:PPPppPPppPPpPPp
P.S.:
« This is a remote forest in Western Poland, where 400 pine trees have grown with a curvature in their trunk structure and it turns out that no one really knows exactly what caused it. There are, however, a few theories:
1) The main theory seems to suggest that this is the result of human interference. It is believed that this is a tree farm and the trees were forced to grow horizontally in their youth to make a carpenters life easier. The curved shape can be induced by laying a heavy object over a young tree stem. Phototropism will cause the stem beyond the heavy object to grow toward the sky, while the growing stem beneath and behind the heavy object will develop what is called morphogenetic compression wood - which ultimately makes the curve in the stem permanent.
The problem with this theory is there is no evidence of a carpenter nearby and as the trees are relatively young (90 years) you would think someone would local would have some insight.
2) The other theory suggests that the curved formation is simply a result of heavy snow load combined with a long spring melt. The trees become photosynthentically active as the angle of the sun increases during spring. With a snow load still on the stem during this period, compression wood forms as the trees grow; resulting in a permanent bend.
Again, another problem comes from this theory; why did snow effect just these 400 trees, rather than the whole pine forest?
3) A third expalnation could be soil creep; as colder temperatures pervade the area, the moisture in the soil freezes and expands, displacing the soil and anything not held fast in it (ie. saplings), then during the warmer part of the day, thaws and retracts. Over days, tiny saplings can be moved to angles ranging from just slightly off 90° to laying flat against the ground as if they had fallen. The saplings prefer very much to remain vertical, as their ability to be able to catch sunlight to keep photosynthesizing is dependent on it, so it will actually bend itself towards the sunlight, much like a sunflower turning its 'head' to face the sun. The result, these curved trunks of trees until they are old enough to grow straight up, and not be affected by soil creep. This phenomenon is most prevalent on hilly terrain, as the steepness of the slope causes for more drastic soil creep.
Once again; this theory falls short; the area is not particularly hilly, especially not to the extent of causing such a dramatic curvature.
Is this one of life’s mysteries? What is your hypothesis?
-Jean »
Relativamente ao assunto do comentário anterior:
Comentário de Mike Holmes in https://www.facebook.com/photo.php?fbid=481546045193709&set=a.427991027215878.121441.427481527266828&type=1&ref=nf :
Can you please replace "theories" with "hypotheses"?
"[...] An ant is crawling on a patch of sand. As it crawls, it traces a line in the sand. By pure chance the line that it traces curves and recrosses itself in such a way that it ends up looking like a recognizable caricature of Winston Churchill. Has the ant traced a picture of Winston Churchill, a picture that depicts Churchill?
Most people would say, on a little reflection, that it has not. The ant, after all, has never seen Churchill, Or even a picture of Churchill, arid it had no intention of depicting Churchill. It simply traced a line (and even that was unintentional), a line that we can 'see as' a picture of Churchill.
We can express this by saying that the line is not 'in itself' a representation1 of anything rather than anything else. Similarity (of a certain very complicated sort) to the features of Winston Churchill is not sufficient to make something represent or refer to Churchill. Nor is it necessary: in our community the printed shape 'Winston Churchill', the spoken words 'Winston Churchill', and many other things are used to represent Churchill (though not pictorially), while not having the sort of similarity to Churchill that a picture — even a line drawing — has. If similarity is not necessary or sufficient to make something represent something else, how can anything be necessary or sufficient for this purpose? How on earth can one thing represent (or 'stand for', etc.) a different thing?
The answer may seem easy. Suppose the ant had seen Winston Churchill, and suppose that it had the intelligence and skill to draw a picture of him. Suppose it produced the caricature intentionally. Then the line would have represented Churchill.
On the other hand, suppose the line had the shape WINSTON CHURCHILL. And suppose this was just accident (ignoring the improbability involved). Then the 'printed shape' WINSTON CHURCHILL would not have represented Churchill, although that printed shape does represent Churchill when it occurs in almost any book today. [...]"
Brains in a vat
Hilary Putnam
from Reason, Truth, and History, chapter 1, pp. 1-21 (Cambridge University Press: 1982)
TEXTO COMPLETO EM http://www.cavehill.uwi.edu/bnccde/ph29a/putnam.html
é a intenção portanto. ainda que o produto final possa não ter nada a ver com Winston Churchill? hm. estou a ver o pressuposto da arte abstracta...
VIDEO: https://youtu.be/3AidpDgzou4?t=14m46s <- [2008] Jonathan Le Cocq (Senior Lecturer in the History and Philosophy of Music. He specializes in the lute and historical performance. He also is the Head of Centre for Music for Theatre and Film Studies at the University of Canterbury) in Big Ideas Forum: Protecting the Legacy of Freedom (panel, assembled by the Centre for Independent Studies, to discuss the topic: "Protecting the Legacy of Freedom: The Ideas of the Enlightenment in the 21st Century.")
Alternative VIDEO source: http://library.fora.tv/2008/08/04/Big_Ideas_Forum_Protecting_the_Legacy_of_Freedom
Starting at t=14m46s:
Art and the Belief in Progress Through Reason and Art
duration: 04 min 41 sec
Art and Cultural Relativism
duration: 03 min 17 sec
Pierre Boulez, Karlheinz Stockhausen: t=22m30s
Contemporary Art Not Part of Enlightenment
duration: 05 min 02 sec
Culture of Improvement
duration: 03 min 46 sec
More information at http://library.fora.tv/2008/08/04/Big_Ideas_Forum_Protecting_the_Legacy_of_Freedom (Info, Bio, Chapters, Preview, etc.)
"[...] Pode dizer-se que os seus trabalhos são caracterizados por três interesses complementares: a arte conceptual, a performance e o existencialismo francês, nomeadamente de Jean-Paul Sartre. Isso não torna as suas obras plásticas um enunciado teórico; aquelas influências são antes uma consequência da sua prática criativa e da sua pesquisa pictórica. Na arte conceptual e na performance interessam-lhe as ideias de destruição do virtuosismo artístico e de artesania, bem como a tese avançada pelos conceptuais da obra de arte como acção no mundo; em Sartre importa-lhe o modo como a subjectividade e a existência são inseparáveis da relação com os objectos do mundo. O postulado, muito antecipador das actuais discussões sobre o novo realismo especulativo, é que existem objectos reais independentes da imaginação e do pensamento do sujeito, e que é a partir dessa relação com o exterior material e objectivo que se pode perceber/definir a existência subjectiva. As questões da relação entre o sujeito e o mundo material [...] Muitos destes objectos são esculturas feitas pelo próprio artista. A sua presença serve a John Divola como modo de contestar a pura virtualidade do espaço fotográfico e de afirmá-lo como real, concreto, material, tangível e, claro, experienciável. Para transformar estas obras não em documentos, mas em demonstrações do carácter equívoco e problemático do conceito de objectividade. Interessa contrapor a prática de Divola às ideias alemãs de objectividade: utilização abundante, quase exclusiva, de preto-e-branco, ausência de pessoas, longas exposições, etc. Um contraste que serve um debate fundamental da arte dos nossos tempos. [...]"
TEXTO INTEGRAL: http://www.publico.pt/culturaipsilon/noticia/accoes-fotograficas-1710975
http://33.media.tumblr.com/baeab248b56a8c1a4c352b2778f30b1f/tumblr_nujvml1GuS1s2yegdo1_400.gif
(testando e descobrindo...)
http://www.sulinformacao.pt/wp-content/uploads/helenalmeidaALTAresol5.jpg
Estudo para Um Enriquecimento Interior, 1977
Tinta acrílica sobre fotografia p/b (6 elementos)
48,5 x 29,5 cm (cada)
Col. Fundação de Serralves - Museu de Arte Contemporânea, Porto
http://www.serralves.pt/pt/museu/a-colecao/obras-e-artistas/?l=A#tabs2_11-html <- ALMEIDA, Helena
https://livrosusadosantigosraros.wordpress.com/2014/11/14/iniciacao-filosofica/
INICIAÇÃO FILOSÓFICA
Karl Jaspers
Guimarães Editores, 1977
19 x 12 – 173 págs. br.
5ªedição
"[...] Até aos cinco anos, não. Depois pus-me a fazer perguntas muito irritantes para a minha mãe, as minhas irmãs mais velhas. "Porque é que a colher se chama colher?" Não encontrava que entre a palavra "colher" e a colher houvesse uma relação evidente. Claro que esta pergunta não tem resposta imediata, a não ser dizer que é uma convenção - o que não chega para nada. A vida humana é toda convenção. [...]"
TEXTO INTEGRAL: http://www.publico.pt/temas/jornal/de-onde-vem-27360016
Shokunin, Sakka | Japanese Craftsmen/women and Artisans
Interviews and mini-documentaries on Japan's traditional handicrafts and arts.
https://www.youtube.com/playlist?list=PLNB5_GMK6YzGlxb6CAQqUC2LUTwSWaKnx
(com legendas em vários idiomas)
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