encode_decode wrote:lordoflight wrote:I would say Meno is the opposite, mostly emotion with reason hidden and buried if you don't have access to his internal decoding script.
I would say that you are on to something here. Those skilled enough to pull reason out of abstract and/or emotional texts are those more skilled at loving life. Whilst one is also able to come to a clarified point of view on many things, one is also forever limited by the fact that they are confined within a greater reality and that reality itself is a part of the ultimate reality essentially connecting us all whether we like it or not. We can extend what you are saying to all communication in that communication is about using a medium to convey what is within the structure of one's mind; that medium could be poetry, science and other arts and philosophy but one thing that these things I speak of have in common is that they are each a medium that carries information for better or for worse from the sender to the receiver. A tip to gaining access to any internal decoding script is to open one's mind to the substance of what is being presented and conveyed - when we don't understand what is being told us, it is not necessarily the fault of the sender.
An aside: just because one sees oneself skilled in maintaining a memory of what they have read does not make one a philosopher nor a skilled interlocutor. It might pay to remember that we are not living in ancient Greece or another time, like the time of Nietzsche; we now live in the third millennium which requires observation of current times - observation which leads to contemporary philosophy and philosophy more applicable to modern times..
I agree, on the basis:
(Very broadly) That pattern recognition as the modus operans for the support of the conceptually evolved notion of being equal to consciousness ( in the sense of Cantor's phenomenological reliance on Spinoza, - to Wittgenstein's modus operans) of such function relational effects in the use of conceptual relations (family resemblance); to suggest that abstraction, (again in its broadest general-cardinal manifestation )appearing in a system bracketing, sets of objects in a background of intentional usage.
That one is permitted to use the earlier interwoven objects , and abstract from them those which are signals of interest, prove the value of abstraction, and reversely, and such who cannot or will not let go in this age of high uncertainty, the connections which abstract visual signs whithin an abstract of meaning , results within aesthetics the evolution of conceptual language they are set in, a relative commensurate and coincidental program of decomposition and reconstruction.(I fear that more likely, such was an intentional use or revision , taking abstraction out of it's set and bracketed arrangement. This intentionality is more in line with Kant's idea, that detractors have prematurely labeled too natural, cardinal and fallacious.
I took the liberty of using philosophically predetermined , non sequential aspects in this proposition.
It's not for the sake of obfuscation , or an affective search for seizing an opportunity to do one better, or anything along those lines that such meaning is sought, but to enable. a wider use of 'pleasure' a determinate connection with pleasure as a principle. , (even as in trying to get to it- the abstracted meaning, as opposed to a descriptively figured natural ,and ordinal method.
Otherwise it - the method- may devolve into an impression of affecting new effects for a singular ' reasons.
If such would have been the case, the bracketing of impressions would have sufficed without further devolution. That abstractly mining for expressions, rather than impressions followed, became such through a reactionary method to cope with such things as Sartre's disillusionment of socialism, particularly representational social realism, built on appearantly insubstantial social foundations.
As far as the 'group' is concerned, indifference shown in the universal scope of differences, has always been proved out, to be insignificant, to the point of unrecognizability, of a recording horizon, where the justification for a schematized aesthetic preference playing out a hidden , yet inconsequential pattern, usually advanced for unintentional reasons , and references toward, thereof.
It is not my idea , or sequence of development, I prefer to M. Polanyi, the tacitly held knowledge , which can only be realized by the tools in which they find themselves, as in Al which consciousness is feared to be undifferentiable from human pattern recognition.
The last comment is bounded on the notion of indeterminate ideas, not necessarily having relevance to the modern world. That has been tossed around a lot , and overlooked is the idea that the hidden continuum does not equate with it's not being testable as an abstraction.
Its more commensurate with a film of reality spliced together by using still life, as pieces of a puzzling set of component parts.
This gestalt effectively presents eiher the content or, the vessel in which it's visually encoded-encrypted, with a preferred balance encosing as focus on one detracts that of the other.
By necessity I posted this not as a defensive gesture, but by way of necessity.