Love is what makes us human, but I’m talking about love of cats, not the weird romantic kind
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Love is what makes us human, but I’m talking about love of cats, not the weird romantic kind

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Paramount+'s "Lioness" Season 3 New York Premiere
Do you know Bloody Bloody Andrew Jackson (2008) ?
Yes, I’ve been in it/worked on it
Yes, I’ve seen it
Yes, I’ve listened to it
No, but I’ve heard of it
No, never heard of it
Now Carnap, in the Aufbau, has no intention of questioning the legitimacy of the cultural sciences. These sciences acquire their own, relatively autonomous domain immediately after the construction of the heteropsychological realm. At the same time, however, Carnap does maintain the privileged position of the physical sciences, and he does say, in particular, that only the world of physics provides for the possibility of “univocal, consistent intersubjectivization.” But Carnap does not base this claim on any “naïve empiricist” prejudice privileging “thing perception” over “expressive perception.” Carnap has no such philosophical views on the ultimate nature of perception at all. Rather, the language of physics is privileged because its exactness and precision of mathematical representation make it an exemplary vehicle for the kind of purely formal (purely structural) meaning Carnap hopes to capture in his fundamental method of logical construction: “Every scientific statement can in principle be so transformed that it is only a structural statement. But this transformation is not only possible, but required. For science wants to speak about the objective; however, everything that does not belong to structure but to the material, everything that is ostended concretely, is in the end subjective. In physics we easily recognize this desubjectivization, which has transformed almost all physical concepts into pure structure concepts.” Mathematical physics is privileged, for Carnap, because it provides the most highly developed example of what Carrier calls the significative function of symbolic meaning.
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… whereas Cassirer preserves in the idea that pure formal logic (in its modern, post-Kantian guise as a sufficient and adequate language for all of mathematics and exact science) provides us with the paradigm of truly universal intersubjective communicability as well, he also wants to maintain a complementary but still universal intersubjective validity in the essentially nonmathematical cultural sciences. He never satisfactorily explains, however, how these two characteristically different types of validity are related, and he never makes clear, in particular, how truly universal, transcultural validity is possible outside the mathematical exact sciences. Thus, if Cassirer cannot make good on the idea of an underlying unity for the totality of symbolic forms, it appears that we are finally left with the fundamental philosophical dilemma presented by Carnap and Heidegger after all. We can either, with Carnap, hold fast to formal logic as the ideal of universal validity and confine ourselves, accordingly, to the philosophy of the mathematical exact sciences or we can, with Heidegger, cut ourselves off from logic and “exact thinking” generally, with the result that we ultimately renounce the ideal of truly universal validity itself.
Michael Friedman, “Turning Point in Philosophy: Carnap-Cassirer-Heidegger” in Logical Empiricism: Historical and Contemporary Perspectives
Pedro with theatre composer and lyricist Michael Friedman.
For the lovely @thesweetestdecline!

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just thinkin about the theatrical dna linking elizabeth swados’ “just let me be young, that’s what i am” and michael friedman’s “we’ll have it all while we are young” again :’)
i hate to do this, but does anyone have a boot of bloody bloody andrew jackson?Â
THE FORTRESS OF SOLITUDE (Original Cast Recording – Premiered at The Public in 2014)
Book by Itamar Moses
Music and Lyrics by Michael Friedman
Conceived and directed by Daniel Aukin
Based upon the novel by Jonathan Lethem
Featuring: Kyle Beltran, Adam Chanler-Berat, Andre De Shields, Brian Tyree Henry, Rebecca Naomi Jones, Kevin Mambo