nothing, until you have learned to distinguish ))) And sit waiting for the love poured by jumping randomly across States and applying the standardized response templates, reading millions of esoteric books filled with fantasies of different people from crazy and glyuchaschie to inventors.what is your tale different from the Internet?
Man ... and his Personality...Universes
how do you do it 
Re: Man ... and his Personality...Universes
tell me.....than your glitches other than the bugs other people....-???мимоходом wrote:filled with fantasies of different people from crazy and glyuchaschie to inventors.
Re: Man ... and his Personality...Universes
I wrote above - anything until you can not distinguish )) You even state its not able to identify. Can't admit any wrong conclusions or assumptions. Can't control emotional reactions, being "very emotional" and randomly reactive. You may not think about anything and don't take my words seriously and continue to read of Ezo-books of fire and water "love" their loved ones, tormented with "demons in darkness" and expecting that someone is something you pour...
Last edited by мимоходом on Sun Dec 11, 2016 3:53, edited 1 time in total.
Re: Man ... and his Personality...Universes
I assure you..your glitches of the same books.....only you forgot it and produce for their)))
In discussions of the all-powerful crowbar
No matter how you rested.
Punched the wall of his forehead?
Means bad fled.
Mikhail Tolkachev
In discussions of the all-powerful crowbar
No matter how you rested.
Punched the wall of his forehead?
Means bad fled.
Mikhail Tolkachev
Re: Man ... and his Personality...Universes
Yes, Ology, it is impossible to believe that for someone of your current status - has long passed the stage in the past ))) You're the most. What was it you said about me: "you should not try to outdo me in Mind....different experiences..different categories of understandings...." and something else about beads, you in front of me, sword )))
Everything is clear and predictable, here even to argue about.
Everything is clear and predictable, here even to argue about.
Re: Man ... and his Personality...Universes
it was not about the most....and different.... this has already become notorious logic))))your Mind is sharp...but narrow...I am trying to capture as wider perception., to keep "looking up...and are exacerbated for research details....мимоходом wrote:"do not try to outdo me in Mind....different experiences..different categories of understandings..
so I just advise not to waste your energy in this direction, because to each his own...you have taken on your account....
as
I never assumed that you will feel .....*the pylon)))мимоходом wrote:beads, you in front of me, sword )))
all speak clearly, and do again, Snoop around the same directionмимоходом wrote:Everything is clear and predictable, here even to argue about.
...seek out my, in your opinion, software, templates..disadvantages.....and starting a new discussion, go back to discussing me, instead of staying in the essence of dialogue....=what is the pattern of your behavior?Huh?maybe you just want revenge for something?hurt your feelings?
your research method similar to ...
as if the patient during the operation suddenly began to find out, Doctor, are you really a doctor?and let your to get the treatment on the subject of career guidance....and the diploma show....
your habit to argue I'm very close )))but not before .....the same degree neprobivaemosti....мимоходом wrote:even here to argue
Re: Man ... and his Personality...Universes
But our lady - it is many-sided...
Here's another one of her greedily-prohladnoy Ogy portraits...
Attention, attention - Wise his lady sucks with every fiber of "soul"...
Here's another one of her greedily-prohladnoy Ogy portraits...
Attention, attention - Wise his lady sucks with every fiber of "soul"...
Re: Man ... and his Personality...Universes
The proposal is a short animated cartoon film is based on the love story of Hindu gods Shiva and Parvati.
/in every Man there is both Shiva and Parvati...../
[youtube][/youtube]
/in every Man there is both Shiva and Parvati...../
[youtube][/youtube]
Re: Man ... and his Personality...Universes
if you take Emotion as a way of removing energy is quite possibly healing)))Вячеслав. wrote:PS the Emotion is the path to istiraniju
what is an Emotion?=it manifested a Sense...))) ...What to do what?Person to show their Feelings.... and why it is harmful to keep it to myself, because
their accumulation is injurious to health....
In humans, the many muscles on the face for what?but to chew ...to Express through facial expressions and their emotions..this is so to speak the universal language of Feelings)))
you can chat and animals for example, especially homemade.....they, in turn, is also endowed with facial expressions))
remember dogs. with a smile, imitating the man, grinning all the while.....
Now it sounds a lot of calls=to control myself and my emotions..but what should be the control?
"I thought badly of you, but I will not tell and do not show it, because I....1.well-mannered! 2.respect others 3. don't want to appear ignorant, etc ...but
it litsemerstvo in front of him....other.....Instead, you need to track it and ask the question=WHY is this feeling I am having, What contributes to this?
How not to judge everyone around. Alexander Palienko.
[youtube][/youtube]
Re: Man ... and his Personality...Universes
the Council viewed the episode
Western world / the world of the Wild West
http://hdrezka.me/series/fiction/11658- ... :4-s:1-e:5
who has not seen it, very good advise...
especially sure that they can solve in their lives, thinking about the greatness of his/their Knowledge)))
and of course....the theme of identity......how it is built....
Western world / the world of the Wild West
http://hdrezka.me/series/fiction/11658- ... :4-s:1-e:5
who has not seen it, very good advise...
especially sure that they can solve in their lives, thinking about the greatness of his/their Knowledge)))
and of course....the theme of identity......how it is built....
Re: Man ... and his Personality...Universes
"Simulacra and simulation" (FR. Simulacres et Simulation) is a philosophical treatise by Jean Baudrillard, written in 1981. In this treatise, Baudrillard explores the relationship between reality, symbols and society, summarizing their previous theoretical developments. The work consists of 18 chapters, each of which could represent independent work.
The epigraph to the work is the phrase:
"The simulacrum is not what hides the truth — it is the truth that conceals that it is not.
The simulacrum is the truth.
Ecclesiastes
"
though actually in the Book of Ecclesiastes there is no such word.
In his early work Baudrillard uses the specific metaphor, using the story "strict science" by Jorge Luis Borges. The great Empire created an accurate, extremely detailed map, with dimensions equal to the Empire itself. The map has been expanded or collapsed depending on whether conquered or lost territory of the Empire. When the Empire collapsed, all that was left of it — a map. In the interpretation of Baudrillard is the opposite: a map in which people live, simulation of reality, where citizens of the Empire spend their lives in the belief that their place in representing the true details recorded by cartographers — it is a reality that crumbles unnecessary.
According to Baudrillard, the era of postmodernism — an epoch of total simulation. In a situation of postmodern society, when the reality becomes a model, a contrast between the reality and the marks erased, it turns into a simulacrum — a copy, depicting something or not having the original in reality, or from the time it has lost.[1]
Baudrillard claims that modern society has replaced reality and meaning with symbols and signs, and the entire human experience is a simulation of reality. Moreover, these simulacra are not only reflections of reality, they are not even deceptive reflection. They are not based on reality and not hide it, they hide the fact that nothing of the existing reality is no longer relevant to our current understanding of reality. Simulacra, which Baudrillard says is the value and symbolism of culture and media that construct perceived reality, through which the understanding of existence becomes more certain. Baudrillard believes that society has become so saturated with these simulacra and our lives so saturated imposed structures of society that all meaning was insignificant and infinitely changing. Baudrillard called this phenomenon the "precession of simulacra". Speaking of the "precession of simulations", but rather refers to the way that the simulacrum precedes reality, rather than the continuity of the historical stages of development of the image. Referring to the story of Borges, he argues that in modern society, the copy takes the place of the original exactly the same as the map precedes the territory of the Empire.
It allocates the 4 phases of image development:
the image — sound image the copy, which we believe, which can be called a reflection of a fundamental reality that has, according to Baudrillard, "the sacramental character"[2].
the image is a malignant reflection of reality, false copy, which "masks and distorts the fundamental reality"[2] and is malicious in nature. Here, signs and images may hint at the existence of some undefined reality, where the sign itself is incapable of encapsulating.
the image masks the absence of basic realityhere the sign pretends to be the authoritative copy, while it is a copy without an original. The symbols and images claim to be the representation of something real, when in fact, no representation there, and a random image are assumed to be only those things to which they did not belong. According to Baudrillard, the image here is "the nature of witchcraft"[2], where the whole point of artificially bewitched and is a reference to the alchemical truth.
phase pure simulationwhere the simulacrum has no relationship to any reality, "as its own simulacrum in its purest form"[2]. Here, the image only reflects other images and claims for its reality solely for the sake of other such claims. This regime of total equivalency, where cultural product is no longer striving to be real in the common sense, because the experience consumers are so predominantly artificial that even claims on reality are expressed in artificial, hyperrealistic conditions.
The era of simulation originates in the destruction of all relatedness, all of the referents in the subsequent artificial resurrection in the systems of their characters. The transition from signs which mask anything to the signs, followed by nothing means a decisive turn. The first still suggests a theology of truth and secrecy (which still belongs to the principle of ideology). The second marks the era of simulacra and simulations, in which there is no longer any God to recognize itself, nor any judgment to separate truth from falsehood, the real from the artificially resurrected, because everything is already dead and resurrected in advance. In concerning ourselves phase the era of simulation is manifested in the rampant production of real and reference, comparable with the wildness of material production, as well as "in the form of real strategy, nerealno and hiperrealismo everywhere duplicated by the strategy of apotropaic".[2]
One of the lost back in the era of simulation, according to Baudrillard, is history. It turns into a myth and that's why it comes in place of the myths in the movie. Happens fetishization of the past, comparable to the fetish theory of Freud. The loss of the referent is trauma, like the discovery of child sexuality. The story of the triumph included in the film after his death, but not for the resurrection, but as a manifestation of nostalgia for the lost references. Simultaneously, the movie itself, aiming for absolute coincidence with the real, approaches an absolute coincidence with itself, to the hyperreality. "Cinema is fascinated by itself as a lost object."[2] Starting from a theory of McLuhan's "the medium is the message" (eng. "medium is a message"), Baudrillard concludes that the implosion of meaning in the media when increase the amount of information. He advances three hypotheses:
information produces meaning, but is unable to compensate for the loss of meaning in all regions, as its absorption is faster than the re-injection.
information has nothing to do with meaning, proving the operational model of another order, without any ultimate meaning.
information directly destroys or neutralizes the meaning that is associated with the dissuasive influence of the media.
Information is "eating" your own content, first, because instead of the impulse to communication is a hoax, instead of the production of meaning — it is a hoax. Second, because the staging of communication and meaning of media to achieve the decomposition of all social. And in this case the formula of McLuhan means that "all contents of meaning are absorbed by a single dominant form of media." According to Baudrillard, McLuhan's formula is the key in the era of simulation (the medium is the message, the sender has the recipient, the isolation of the poles) and should be considered in limiting your expression: "after all contents and messages will evaporate in media, media itself will disappear as such."[2]
Criticism
Mark Poster in the Preface to his anthology "Jean Baudrillard. Selected writings" sets forth some grounds for criticism of the works of Baudrillard. First, in most cases it has no clear definitions for many of them the same terms you enter. Second, he's prone to hyperbole and declarative, his assertions often lack systematic analysis, supported by evidence. Thirdly, he summarizes his ideas, not to distinguish them thematically. In addition, said the Poster, Baudrillard often focuses solely on specific examples (experiences or telebranch) like in society there is nothing more socially significant, and with this limited factual basis it extrapolate a gloomy view of the world. He ignores their position contrary evidence, for example, turning a blind eye to the advantages of new media.[3]
Jean Bricmont and Alain Sokal, analyzing number of works of Baudrillard, noted his frequent use of scientific terms, regardless of their importance, are often not suitable for these terms in the context. This creates the appearance of depth of reasoning Baudrillard about sociology and history. Scientific terminology, in addition, mixes easily with non-scientific, and the authors ask the question: what will remain from the thoughts of Baudrillard, if you remove "word gloss".[4]
Catherine Hales in his article "Borders of madness" (eng. The Borders of Madness) contested the omnipresence of simulacra and their complete relationship with reality. She notices that the metaphor of explosion, implosion, which applies to Baudrillard, implies a sudden, instantaneous and irreversible change in a certain area. While in the modern culture of the simulacrum distributed unevenly, dominating in one area and almost completely absent in the other. Hales also emphasizes that each existing simulation has its limits, separating it from the environment, from reality. These boundaries are important because they serve as a reminder of the extent to which dreams of technological transcendence becomes a dangerous fantasy. Hyperreality, according to Hales, is unable to erase these distinctions, as they exist independently of our knowledge about them, it destroys their traces only in our minds. Then hyperreality in Baudrillard's understanding borders on insanity, the most likely end — the Apocalypse.[5]
https://ru.wikipedia.org/wiki/%D0%A1%D0 ... 0%B8%D1%8F<
The epigraph to the work is the phrase:
"The simulacrum is not what hides the truth — it is the truth that conceals that it is not.
The simulacrum is the truth.
Ecclesiastes
"
though actually in the Book of Ecclesiastes there is no such word.
In his early work Baudrillard uses the specific metaphor, using the story "strict science" by Jorge Luis Borges. The great Empire created an accurate, extremely detailed map, with dimensions equal to the Empire itself. The map has been expanded or collapsed depending on whether conquered or lost territory of the Empire. When the Empire collapsed, all that was left of it — a map. In the interpretation of Baudrillard is the opposite: a map in which people live, simulation of reality, where citizens of the Empire spend their lives in the belief that their place in representing the true details recorded by cartographers — it is a reality that crumbles unnecessary.
According to Baudrillard, the era of postmodernism — an epoch of total simulation. In a situation of postmodern society, when the reality becomes a model, a contrast between the reality and the marks erased, it turns into a simulacrum — a copy, depicting something or not having the original in reality, or from the time it has lost.[1]
Baudrillard claims that modern society has replaced reality and meaning with symbols and signs, and the entire human experience is a simulation of reality. Moreover, these simulacra are not only reflections of reality, they are not even deceptive reflection. They are not based on reality and not hide it, they hide the fact that nothing of the existing reality is no longer relevant to our current understanding of reality. Simulacra, which Baudrillard says is the value and symbolism of culture and media that construct perceived reality, through which the understanding of existence becomes more certain. Baudrillard believes that society has become so saturated with these simulacra and our lives so saturated imposed structures of society that all meaning was insignificant and infinitely changing. Baudrillard called this phenomenon the "precession of simulacra". Speaking of the "precession of simulations", but rather refers to the way that the simulacrum precedes reality, rather than the continuity of the historical stages of development of the image. Referring to the story of Borges, he argues that in modern society, the copy takes the place of the original exactly the same as the map precedes the territory of the Empire.
It allocates the 4 phases of image development:
the image — sound image the copy, which we believe, which can be called a reflection of a fundamental reality that has, according to Baudrillard, "the sacramental character"[2].
the image is a malignant reflection of reality, false copy, which "masks and distorts the fundamental reality"[2] and is malicious in nature. Here, signs and images may hint at the existence of some undefined reality, where the sign itself is incapable of encapsulating.
the image masks the absence of basic realityhere the sign pretends to be the authoritative copy, while it is a copy without an original. The symbols and images claim to be the representation of something real, when in fact, no representation there, and a random image are assumed to be only those things to which they did not belong. According to Baudrillard, the image here is "the nature of witchcraft"[2], where the whole point of artificially bewitched and is a reference to the alchemical truth.
phase pure simulationwhere the simulacrum has no relationship to any reality, "as its own simulacrum in its purest form"[2]. Here, the image only reflects other images and claims for its reality solely for the sake of other such claims. This regime of total equivalency, where cultural product is no longer striving to be real in the common sense, because the experience consumers are so predominantly artificial that even claims on reality are expressed in artificial, hyperrealistic conditions.
The era of simulation originates in the destruction of all relatedness, all of the referents in the subsequent artificial resurrection in the systems of their characters. The transition from signs which mask anything to the signs, followed by nothing means a decisive turn. The first still suggests a theology of truth and secrecy (which still belongs to the principle of ideology). The second marks the era of simulacra and simulations, in which there is no longer any God to recognize itself, nor any judgment to separate truth from falsehood, the real from the artificially resurrected, because everything is already dead and resurrected in advance. In concerning ourselves phase the era of simulation is manifested in the rampant production of real and reference, comparable with the wildness of material production, as well as "in the form of real strategy, nerealno and hiperrealismo everywhere duplicated by the strategy of apotropaic".[2]
One of the lost back in the era of simulation, according to Baudrillard, is history. It turns into a myth and that's why it comes in place of the myths in the movie. Happens fetishization of the past, comparable to the fetish theory of Freud. The loss of the referent is trauma, like the discovery of child sexuality. The story of the triumph included in the film after his death, but not for the resurrection, but as a manifestation of nostalgia for the lost references. Simultaneously, the movie itself, aiming for absolute coincidence with the real, approaches an absolute coincidence with itself, to the hyperreality. "Cinema is fascinated by itself as a lost object."[2] Starting from a theory of McLuhan's "the medium is the message" (eng. "medium is a message"), Baudrillard concludes that the implosion of meaning in the media when increase the amount of information. He advances three hypotheses:
information produces meaning, but is unable to compensate for the loss of meaning in all regions, as its absorption is faster than the re-injection.
information has nothing to do with meaning, proving the operational model of another order, without any ultimate meaning.
information directly destroys or neutralizes the meaning that is associated with the dissuasive influence of the media.
Information is "eating" your own content, first, because instead of the impulse to communication is a hoax, instead of the production of meaning — it is a hoax. Second, because the staging of communication and meaning of media to achieve the decomposition of all social. And in this case the formula of McLuhan means that "all contents of meaning are absorbed by a single dominant form of media." According to Baudrillard, McLuhan's formula is the key in the era of simulation (the medium is the message, the sender has the recipient, the isolation of the poles) and should be considered in limiting your expression: "after all contents and messages will evaporate in media, media itself will disappear as such."[2]
Criticism
Mark Poster in the Preface to his anthology "Jean Baudrillard. Selected writings" sets forth some grounds for criticism of the works of Baudrillard. First, in most cases it has no clear definitions for many of them the same terms you enter. Second, he's prone to hyperbole and declarative, his assertions often lack systematic analysis, supported by evidence. Thirdly, he summarizes his ideas, not to distinguish them thematically. In addition, said the Poster, Baudrillard often focuses solely on specific examples (experiences or telebranch) like in society there is nothing more socially significant, and with this limited factual basis it extrapolate a gloomy view of the world. He ignores their position contrary evidence, for example, turning a blind eye to the advantages of new media.[3]
Jean Bricmont and Alain Sokal, analyzing number of works of Baudrillard, noted his frequent use of scientific terms, regardless of their importance, are often not suitable for these terms in the context. This creates the appearance of depth of reasoning Baudrillard about sociology and history. Scientific terminology, in addition, mixes easily with non-scientific, and the authors ask the question: what will remain from the thoughts of Baudrillard, if you remove "word gloss".[4]
Catherine Hales in his article "Borders of madness" (eng. The Borders of Madness) contested the omnipresence of simulacra and their complete relationship with reality. She notices that the metaphor of explosion, implosion, which applies to Baudrillard, implies a sudden, instantaneous and irreversible change in a certain area. While in the modern culture of the simulacrum distributed unevenly, dominating in one area and almost completely absent in the other. Hales also emphasizes that each existing simulation has its limits, separating it from the environment, from reality. These boundaries are important because they serve as a reminder of the extent to which dreams of technological transcendence becomes a dangerous fantasy. Hyperreality, according to Hales, is unable to erase these distinctions, as they exist independently of our knowledge about them, it destroys their traces only in our minds. Then hyperreality in Baudrillard's understanding borders on insanity, the most likely end — the Apocalypse.[5]
https://ru.wikipedia.org/wiki/%D0%A1%D0 ... 0%B8%D1%8F<