From Walter Kaufmann's prologue to Martin Buber's I and Thou.
noise dept.
$LAYYYTER

Kiana Khansmith
I'd rather be in outer space 🛸
KIROKAZE

oozey mess
Cosmic Funnies
untitled
hello vonnie
NASA

Product Placement
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tumblr dot com
Monterey Bay Aquarium
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if i look back, i am lost
EXPECTATIONS
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Jules of Nature
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From Walter Kaufmann's prologue to Martin Buber's I and Thou.

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G. E. Moore's notes on "Wittgenstein’s Lectures in 1930-1933" from Philosophical Occasions
「ウィトゲンシュタイン 『哲学探究』という戦い」 野矢茂樹 岩波書店 読了。
Minima Moralia: Reflections on a Damaged Life by Theodor W. Adorno My rating: 5 of 5 stars It helps to know that this 1951 book, an unclassi

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“Marge everything is corrupted by capital. Have you ever sat down and read this thing? Technically the way we close a car door is fascist.”
I think people maybe don’t understand that this isn’t an exaggeration – it is literally something Adorno says in this book.
“RETVRN TO TRADITION. Things were so much better in the olden days. I am very antifascist.”
I know people are going to make fun, and this deserves it, but when you carry your groceries home walking on the shoulder of a road with a 40 mph speed limit, occasionally cutting into a muddy ditch because that part of the road has no shoulder, that stuff about the car causing people to subordinate themselves to the logic of machines in ways which encourage sudden, violent action and discourage slowness or contemplation…
I dunno, after the third time someone almost hits you in a parking lot because they were looking for other cars instead of literally directly in front of where they were going, well, you might think there’s maybe something to all this.
Also I was talking to a friend who had lived without a car for years and was now getting back into driving more often, and he said something like,
“The hardest thing is re-learning to make split decisions again, like when you’re driving you can’t just stop and think, it’s much better and safer to just make the wrong decision quickly then it is to slow down and not be able to decide, and it’s taking a while to relearn that mindset”
So like…
PS - Fascism uses the idea of the past for propaganda purposes but is a generally modern doctrine and in practice is often incredibly frustrated by and violently hostile to the messiness of the past.
I mean, I genuinely don’t know, are there a lot of right-wing fascists in Italy who think the unification was a mistake and want to return to the time before Italian nationalism?
One of the earliest and most intellectually interesting Fascists, the futurist leader Marinetti, lionized the automobile as a way of inculcating fascism on basically exactly the same grounds Adorno is doing here, the only real difference is that Marinetti thought that fascism was a good thing.
Doctrines which long for a return to the past can be non- or even anti-fascist, precisely because Fascism is so modern, but by the same token Fascism sells a lot better so not many people actually commit to those alternative ways of lionizing the past.
Just today, as I was walking home, I saw an older man in the middle of the street who had gotten stranded trying to maneuver a handcart and way too many bags. He had jaywalked into the middle of the street and couldn’t gather up all of his possesions in such a way that he could move when the light turned green.
I had to restrain myself from rushing out into the street to help him on the grounds that I might well get run over by one of the oncoming cars; there are two shrines to people who were run over crossing the street within walking distance of where we were.
Traffic simply maneuvered around him; drivers were probably feeling that if they stopped for him, they’d get rear-ended so people in the lane he was standing in just swerved into the other lane a little bit.
Once there was a break in traffic I ran over and helped him get his stuff to the sidewalk.
How else to describe this process but as one of pure functionality, which does not tolerate freedom of conduct? The car will move down the street; to interrupt that motion is to put your life at risk, so the people surrounding this old man find themselves at least unwilling, and quite likely actually unable to stop and help him reach a safer island.
Basically I have never had a more Hannibal.jpg reaction to anything on Tumblr than I have to that page of Adorno.
GO OFF BITCH
I haven’t read this exact book but people also need to understand that in a long-form work like this the main point probably isn’t that car doors and slide windows make you into a fascist and you’re fascist for having a door that doesn’t slam and all anti-fascists must remove these Evil Things from their homes to be Good Moral People. But also isn’t it interesting to try to look at the objects around you and see how they were designed and if there are any inbuilt assumptions or biases built into how they function? Isn’t it worth investigating whether constantly being around objects that are designed primarily for single users without regard for larger communities has any effect on society’s attitude towards communities? Maybe the answer is no, it doesn’t! But if you hadn’t asked you wouldn’t know for sure. And maybe the answer is, Maybe?! And then you can ask “huh is there anything to do about that?” And there might or might not be anything to do about that.
And the notes above about cars are a really good example of how this thinking can go further! And if you understand the point after reading the car examples, well then try to apply that same logic to the other examples! Does that tell you anything?
Sometimes thinking is just thinking and sometimes books are asking you to think about something for more than two seconds.
Speaking of Vʔ in closed syllables, the word being translated as Unicorne in Job 39:9-10 in this 1611 KJV is רֵים rêm, and six of the nine times it shows up in the Hebrew Bible it's actually spelled רְאֵם rəʔēm instead—that is to say, it was originally *riʔm.
'Unicorn' is an interesting choice of translation, particularly given that three of the times the word shows up the text is talking about its horns, plural. E.g. Deuteronomy 33:17:
בְּכוֹר שׁוֹרוֹ הָדָר לוֹ וְקַרְנֵי רְאֵם קַרְנָיו בָּהֶם עַמִּים יְנַגַּח יַחְדָּו אַפְסֵי־אָ֑רֶץ וְהֵם רִבְבוֹת אֶפְרַיִם וְהֵם אַלְפֵי מְנַשֶּׁה׃ bəkôr šôrô hādār lô wəqarnê rəʔēm qarnāw bāhem ʕammîm yənaggaḥ yaḥdāw ʔapsê-ʔāreṣ, wəhēm ribəbôt ʔeprayim wəhēm ʔaləpê mənašše. The firstborn of his bull—majesty is his! His horns are the horns of a rəʔēm; with them he gores the peoples all together to the ends of the earth; such are the myriads of Ephraim, such the thousands of Manasseh.”
The KJV (or actually the Coverdale Bible, which these parts go back to) isn't the first to use 'unicorn' to translate rəʔēm: the Septuagint mostly uses μονόκερως 'one-horned' (once, it uses ἁδροὶ 'stout ones'), which the Vulgate calques as unicornis in four cases. E.g. Psalms 22:21 (21:22 in the Vulgate's numbering):
σῶσόν με ἐκ στόματος λέοντος καὶ ἀπὸ κεράτων μονοκερώτων τὴν ταπείνωσίν μου Salva me ex ore leonis, et a cornibus unicornium humilitatem meam.
In the remaining instances, the Vulgate uses rhinoceros (borrowed from Greek ῥινόκερως 'nose-horned'):
πρωτότοκος ταύρου τὸ κάλλος αὐτοῦ κέρατα μονοκέρωτος τὰ κέρατα αὐτοῦ ἐν αὐτοῖς ἔθνη κερατιεῖ ἅμα ἕως ἐπ᾽ ἄκρου γῆς αὗται μυριάδες Εφραιμ καὶ αὗται χιλιάδες Μανασση Quasi primogeniti tauri pulchritudo eius, cornua rhinocerotis cornua illius in ipsis ventilabit gentes usque ad terminos terrae. Hae sunt multitudines Ephraim et haec millia Manasse.
Obviously people were confused about what kind of animal this was supposed to be. Akkadian has an obvious cognate rīmu, and the Babylonians were kind enough to depict one on the Ishtar Gate:
Rīmu is generally translated as 'wild bull' because your average Assyriologist doesn't know what an aurochs is, but it's an aurochs. They went extinct in the ANE and the eastern Mediterranean somewhere during the first millennium BCE, and it's very likely the Septuagint translators, in Egypt and the southern Levant, never saw one. Knowing only what was in the text—the rəʔēm is an animal whose defining features are (1) strength and (2) horns, both greater than a bull's—they took a punt.
It's actually not clear what they had in mind with μονόκερως; Aristotle, in his History of Animals and Parts of Animals, twice calls both "the Indian ass" and "the oryx" μονόκερως, and it's not particularly clear what he meant by that either. Probably they did know about rhinoceroses, and Jerome certainly will have—his rhinoceros all but certainly refers to an actual rhinoceros and not a mythical animal.
Modern translations all seem to use 'wild ox'.
Has Radical Behaviorism Lost Its Right to Privacy? - PMC
I may have the sudden thought that I have forgotten some papers and return to my office to retrieve them. Does my recalling the papers play no causal role in my subsequent behavior? Of course, we should rightly ask the question, “What brought about such a thought?” There are myriad possibilities and embeddings, including previous thinking, maybe about the content of the papers as I walked along. This raises a question about why this might have occurred, and so on. We can carry on this process indefinitely, but to what end? The Big Bang, the ultimate environmental cause?! Moreover, the more one attempts to get back to distal causes, the more speculative and uninformative they become.
i wouldnt say i fully agree with or even understand this lecture but i really like it and i think its worth a read. esp if youve been interested in my recent moral-realism takes (even tho it doesnt really argue for moral realism)
What distinction are you using between Ideas and Concepts? i felt like i ALMOST understood that post but I'm not sure where to find context and I'm real curious now!
Re: this post. "Concepts" and "Ideas" are terms of art in late 18th and 19th Century philosophy. "Concepts" for both Kant and Schopenhauer are the contents of ordinary propositional knowledge. In both cases they think that concepts are not the object of aesthetic judgment or experience (respectively). Aesthetic judgment for Kant involves confrontation with an object we cannot readily assimilate to a concept provided by the understanding. Aesthetic experience for Schopenhauer involves overcoming the habitual, concept-laden mode of seeing things. They each use "Ideas" differently, but I think they actually are trying to get at the same explanandum and in both cases they're supposed to be special. I'll give on popular way to read what Schopenhauer means by ideas (which is slightly different from what I understand him to be saying, but close enough for tumblr work): when you perceive an Idea you perceiving its non-spatial, non-temporal essence. You are basically bracketing the thing and only observing its essential features (for more on this reading, I think there are parts of it in Shapshay, Janaway, and Young). One way of misunderstanding: "so you're just finding out the last of properties that it has that make it what it is?" No. Essences for Schopenhauer are not lists of properties but involve grasping something about the object that cannot be exhaustively translated into propositional terms, so listing off "red, such and such a beak shape, feathered, etc." for, let's say, "cardinal" isn't going to cut it. For Kant Ideas are equally weird: Ideas are products of the faculty of Reason that are produced as a result of Reason's "vocation" producing certain kinds of transcendental illusions that we mistakenly think we have a priori knowledge of, but which (nevertheless) are useful in providing regulative principles for our thoughts and actions. Things like the soul, God, etc. Kant thinks that beautiful things (really poetry specifically) can give sensible presentation to these things. These are Kant's aesthetic Ideas.
"What does this mean for real people?" Well, I think there are some thoughts that are really kind of dead from over-articulation, from having their entire existence in the propositional form. Running through the Romantics is this thread in which big parts of language are dead and the task of the poet is to make them Adamic and living again. This finds later articulation in the Russian symbolists, Russian formalists, early Anglophone modernists. I think the Romantic version of this in which thought needs to be reconnected with feeling isn't quite right: we can be triggered in a way to have certain emotions as a result of propositions (though perhaps they would discount this kind of unity). But there is something off about something that has its finality in speech. And I think it makes too salient the picture in which I compare the propositions in my head to the propositions on the page and assessment is simply a matter of matching. But corniness it seems to me is liking the ability for something to be plainly expressed and to find comfort in it. There is something corny in the sensibility of someone who likes an anti-war movie first and foremost because he can put to himself, in so terse a statement, "This movie is against war and I am also against war. This is my sentiment exactly."

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Most significant manuscript find of the past 150 years?
Sappho's Brothers Poem
Charition
The Derveni papyrus
The Hebrew Ben Sirach
The Ketef Hinnom scrolls
The Ugaritic Baal Cycle
The Sanaa palimpsest
Something else (tell me!)
"Manuscript" is intentionally vague. I've focused on literary texts from a relatively small geographical area because of my own area of expertise, but you don't have to! Details for my selection below.
A major reason why Dewey devoted so much of his work to insisting on the expansion of our concepts of experience and nature beyond the processes and objects of cognition is that, as a result of the overemphasis on cognition, an important element of experience was being ignored: the “immediate, felt dimensions of life itself” (Bernstein, 1966, p. 89). Qualitative immediacy consists of those elements of experience and nature that are immediately present—not objects and qualities of knowledge, but objects and qualities of direct enjoyment, suffering, encountering, or awareness. …
… Without such immediate qualitative existence, “those relations with which science deals, would have no footing in existence and thought would have nothing beyond itself to chew upon or dig into” (Dewey, 1985a, p. 75). Immediately experienced qualities are the natural starting point and end point for inquiry—they provide the indication of a problem in need of resolution, and the sense that such a problem has been adequately understood and resolved. Without them, all intellectual activity and inquiry would be nothing more than shots in the dark, since applicability to them is “the ultimate test of their validity” (Dewey, 1985g, p. 247). …
The descriptions Dewey gives of qualitative experience, beyond cognitive functions and processes, usually are negative (for example, it can’t appear as such in discourse) or consist of evocative and imprecise terms (“obdurate, self-sufficient, wholly immediate, neither a relation nor an element in a relational whole, but terminal and exclusive” (Dewey, 1985a, p. 74)). This point was made by Bertrand Russell in his contribution to the first volume of The Library of Living Philosophers, devoted to the work of John Dewey, in which he complained that “we are told very little about the nature of things before they are inquired into” (Russell, 1939, p. 139). Dewey replied that to attempt to positively characterize the nature of things before inquiry conceptualizes them would be “completely contradictory to [his] own position” (Dewey, 1985f, p. 31). This is because “telling is… a matter of discourse, and … all discourse is derived from and inherently referable to experiences of things in non-discursive experiential having;—so that, for example, although it is possible to tell a man blind from birth about color, we cannot by discourse confer upon him that which is had in the direct experience of color” (ibid., p. 31). Although we can inquire into, conceptualize, and communicate about immediate experience, “one person cannot communicate an experience as immediate to another person” (ibid., pp. 30, emphasis added). The thing communicated will, by necessity, be an object of discourse—a cognitive object known rather than had. If one person wants to induce a similar immediate qualitative experience in another person, his only option is to “invite that other person to institute the conditions by which the person himself will have that kind of situation the conditions for which are stated in discourse” (ibid., pp. 30–31).
Parysa Clare Mostajir, Volunteering Away Humanity: A Pragmatist Critique of Scientism
I mean this as sincerely and un-spitefully as such a thing can be meant: artists in general need to get over the idea that they are or can be* agents of social change. Custard Pie Theory is undefeated. And I don't just mean "Oh, nobody reads anymore and the world is full of cruel idiots and your wisdom will go unheard." I mean, even if the entire world saw you as their philosopher-king the tools would still be inadequate for the task. You know the gag about NrX guys, 'their ideology is pictures'? Well, your ideology is words, and that's not much better. It's like taking a really nice picturesque photo of a charming European fishing village and then saying you've solved urban sprawl and congestion. Just look at the picture! What do you mean it doesn't scale? There is simply no way to take the compression required for most narrative works of art--people into characters, places into settings, moral complexity into pitched battles of good and evil--and decompress it into anything close to an accurate representation of real life, let alone blueprints for how to fix it.
*-OK fine, if you're really lucky maybe you'll get to be Harriet Beecher Stowe or Upton Sinclair or Igor Stravinsky and 'change the world' in a measurable way. One, this is like 'planning' on winning the Powerball, and two, notice how their seminal world-changing works are all 100+ years old.
This is a bad model of the art -> social change linkage.
Like, no shit, you're not going to make a novel or a play or a movie or whatever that spontaneously inspires the people to rise up and makes government leaders yank hard on the levers of policy. And the people who expect that this will happen are very silly.
But art - especially in aggregate - is a really excellent tool for changing people's values and interests, in a vague broad overarching way. It tells them which things are worthy of aspiration and which things are detestable. It makes behaviors and situations seem normal or abnormal. Which is all to say, if you want to think of it as a weapon, it's like unleashing a plague: it works on an uncomfortably slow timescale, and you can't quite control where it goes or exactly who gets affected, but it can sure leave the world looking pretty different in its wake!
(If you want to make arguments of the form "art requires an audience to be effective, and people are consuming less and less of anything that might have a meaningful payload" - well, that's a different and uglier subtopic.)

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PDF | On Jun 9, 2022, Dan Zahavi published Debating Empathy: Historical Awareness and Conceptual Precision | Find, read and cite all the res
have you ever outlined your view on materialism before? curious considering previous post :0
So you're wondering what historical materialism is and you've read GA Cohen, who says that Marx is a technological determinist but this doesn't seem right so you ask some Marxists and they say that's not right at all. So you say okay and you read a little Marx and what the Marxists are actually saying and they tell you that history is determined by the base relations. You say that doesn't seem right at all, it sometimes seems like the superstructure determines the base. So they say you're not understanding correctly: the base and superstructure determine each other. And you think to yourself before saying out loud that this is really trivial. But they clarify that the base more fundamentally determines or constrains the superstructure. So you say you don't know what that means. And they explain how societies are constrained by needing to meet basic needs like food, shelter, etc. So you say okay, that seems generally true but there might be some exceptions and the explanatory power of that principle seems a lot weaker than the principles theorists use to motivate materialist histories of wars and art and science and religious upheavals. And they say well it's really supposed to cut off a kind of whig 19th century style history where ideas as abstract entities play a causal role and there's an outsized place for genius. And you say like Hegel? And they say yeah like Hegel. And then you say maybe genius does sometimes have an interesting role in the development of history. So you bicker for a bit about this and they tell you to read some Soviet historian of science and you say okay I will that sounds interesting. And so you read about the various technical demands that led to the Newtonian revolution and it seems interesting but you're not really persuaded. So you say to the Marxist let's pick this up again some other time.
So you go over and talk to the rationalist and you ask if they mean the same thing by materialism and they say I don't know. Maybe. So you ask what they mean and they tell you and they say there's only atoms and void. And you say I don't think that's true and they say you believe in magic and so you say I don't want to talk about that right now. It seems like you also sometimes mean materialism as a method of historical analysis or prediction. And they say oh that! Yeah I just mean you should follow the data when it comes to making these kinds of decisions and should follow good scientific reasoning. So you say well that seems better than what normal people are doing at least, but I read a bunch of stuff in the philosophy of data that says maybe we should be a little worried about the way data manipulates our values and sense of the world. Porter has an interesting book about this and also you should probably read Seeing Like a State but I dunno probably everyone already knows about that one. And they say that's nice but I gotta get back to calculating.