This also, perhaps, also acknowledging the ineffability of Koraïchi's prayer for his parents.
|
|
Herder extolled the popular genius of German Kultur, as well as the ineffability of particular cultures across the board.
|
|
In one of his segments—now lovingly labeled "Reggie's Question"—Watts asks Jeff Goldblum about the ineffability of sensuality.
|
|
In "Be With," he is at once adamant about the ineffability of grief and committed to getting his inchoate "grief-sounds" somehow into words.
|
|
In hip-hop, which has moved from personally taped cassettes to street-corner mixtapes to zip files, ineffability is often embedded into the game.
|
|
Match Book Dear Match Book, As St. Augustine said about time's ineffability, we all know what music is until we are asked to explain it.
|
|
Assuming that Smith did sign, though, RASL would make for a tremendous potential series with some of Fringe's weirdness and some of the MCU's lone-wolf superhero adventures, all with a touch of big Darren Aronofsky-friendly ineffability.
|
|
As you'll know, one of the main characteristics of a psychedelic experience is its ineffability—you can't sit there and describe it to someone who's never had one; it's like trying to describe sex to someone who's never had sex.
|
|
In later studies, researchers have identified core characteristics of such experiences, including ineffability, the inability to put it into words; paradoxicality, the belief that contradictory things are true at the same time; and feeling more connected to other people or things.
|
|
Ms. Crystal, who in addition to her sister is survived by her son, Gustav Che Finkelstein, had an unflappable, slightly spacey demeanor and an incongruous la-di-da accent that added an extra layer of ineffability to an already bizarre persona.
|
|
" New York City's ineffability, Mr. Glaser said, often results in uninspired imagery, like the Empire State Building or the initials N.Y.C. "The solution has to involve, for me, two things: one is a kind of first puzzle, to recognize there is no immediate solution, and then a sense of durability, so that when you see it, you remember it.
|
|
He is supreme, absolute, eternal, infinite, perfect, holy and self-sufficient. However, his transcendent ineffability is also emphasized. He is neither quantifiable nor can his qualities ever truly be described.
|
|
The trinity of the "triple- powered one" (with the powers consisting of the modalities of existence, life and mind) in Allogenes mirrors quite closely the Neoplatonic doctrine of the Intellect differentiating itself from the One in three phases, called Existence or reality (hypostasis), Life, and Intellect (nous). Both traditions heavily emphasize the role of negative theology or apophasis, and Gnostic emphasis on the ineffability of God often echoes Platonic (and Neoplatonic) formulations of the ineffability of the One or the Good. There were some important philosophical differences. Gnostics emphasized magic and ritual in a way that would have been disagreeable to the more sober Neoplatonists such as Plotinus and Porphyry, though perhaps not to later Neoplatonists such as Iamblichus.
|
|
Scholar Robert S. Ryf examined Guetti's assertion in The Limits of Metaphor Nineteenth-Century Fiction, Vol. 22, No. 2 (September 1967) pp. 202-204 regarding ineffability in the works of Melville, Conrad, and Faulkner. Because words, according to Guetti, are unable to express thoughts about reality, they become a mere communication about nothingness.
|
|
The plan of the book is divided into three parts: unity, multiplicity, and ineffability. In the introduction, the reader is given a summary glimpse of technoromanticism as an attempt to establish political unity through information, as an attempt to achieve techno-idealism through empirical realism, and as an attempt to achieve a digital utopia. Throughout the work he points out the shortcomings of such endeavors.
|
|
Atopy (Greek ατοπία, atopía - placelessness, unclassifiable, of high originality; Socrates has often been called "átopos") describes the ineffability of things or emotions that are seldom experienced, that are outstanding and that are original in the strict sense. The term depicts a certain quality (of experience) that can be observed within oneself or within others. It does not depict an ideal, although it has been abused to do so, for example by the genius-cult during the era of romanticism.
|
|
Stevens, p. 223 The reader of the poem almost hears the tread of the "finical carriers" of Rosenbloom's body in the slow march of this funeral procession. Although the poem's heavy beats leave no doubt that Stevens' naturalism is being expressed, there is a suggestion of ineffability when the tread of the carriers "turns up the sky". The label transcendental naturalism is not ill-suited to characterize the outlook of this and similar poems in Stevens' oeuvre.
|
|
Because health problems can interfere with even the most basic aspects of daily living (for example, breathing comfortably, quality of sleep, eliminating wastes, feeding oneself, dressing, and others), the health care professions have codified the concepts of activities of daily living (ADLs) and instrumental activities of daily living (IADLs). Such analysis and classification helps to at least partially objectify quality of life. It cannot eliminate all subjectivity, but it can help improve measurement and communication by quantifying and by reducing ineffability.
|
|
As such, the concept of the Void, and ideas similar to it, have a significant and historically evolving presence in artistic and creative expression, as well as in academic, scientific and philosophical debate surrounding the nature of the human condition. In this sense, knowledge or experience of the Void could be said to actually be unknowing, given its inherent ineffability. In Western mystical traditions, it was often argued that the transcendent 'Ground of Being' could therefore be approached through aphairesis, a form of negation.
|
|
Miron Radu Paraschivescu claimed that Olguța is one of the most successful characters in Teodoreanu's literary works. In 1995, a group of experts from Aix-Marseille University reviewed the trilogy and highlighted that Teodoreanu was traditionally considered by Romanians as the novelist of childhood. They remarked that At the Medeleni is a good illustration of life in Romania in the 1920s. At the Medeleni attains the ineffability of sensation and opens with a writing style torn between suffering and voluptuousness, a vertiginous perspective evoking baroque aesthetics.
|
|
These associations charge the scene with an air of mystery, leading the reader to a splendid vision of the firmament. The poem is spare and says little, yet it shows a great deal about a perspective that could seem empty without the imagination's activity, which invests it with depth and ineffability. See "Gubbinal" and "The Snow Man" for other experiments in perspective. Buttel is struck by "Stevens' fondness for the word 'motions', as an abstract word for the flux of the physical world as well as for the sympathetic movement of the mind".
|
|
Vertov is known for many early writings, mainly while still in school, that focus on the individual versus the perceptive nature of the camera lens, which he was known to call his "second eye". Most of Vertov's early work was unpublished, and few manuscripts survived after the Second World War, though some material surfaced in later films and documentaries created by Vertov and his brothers, Boris Kaufman and Mikhail Kaufman. Vertov is known for quotes on perception, and its ineffability, in relation to the nature of qualia (sensory experiences).
|
|
Underhill's greatest book, Mysticism: A Study of the Nature and Development of Man's Spiritual Consciousness, was published in 1911, and is distinguished by the very qualities which make it ill-suited as a straightforward textbook. The spirit of the book is romantic, engaged, and theoretical rather than historical or scientific. Underhill has little use for theoretical explanations and the traditional religious experience, formal classifications or analysis. She dismisses William James' pioneering study, The Varieties of Religious Experience (1902), and his "four marks of the mystic state" (ineffability, noetic quality, transience, and passivity).
|
|
American pragmatic philosopher and psychologist William James introduced his concept of the "will to believe" in 1896. Following upon his earlier theories of truth, James argued that some religious questions can only be answered by believing in the first place: one cannot know if religious doctrines are true without seeing if they work, but they cannot be said to work unless one believes them in the first place. William James published many works on the subject of religious experience. His four key characteristics of religious experience are: 'passivity', 'ineffability', 'a noetic quality', and 'transiency'.
|
|
One of Moore's distinctive contributions to the area of contemporary metaphysics is a bold defence of the idea that it is possible to think about the world 'from no point of view'. This defence is presented in his book, Points of View, which is at the same time a study of ineffability and nonsense. Drawing on Kant and Wittgenstein, he considers transcendental idealism which, he argues, is nonsense resulting from the attempt to express certain inexpressible insights. He applies this idea to a wide range of fundamental philosophical issues, including the nature of persons, value, and God.
|
|
Ineffability is concerned with ideas that cannot or should not be expressed in spoken words (or language in general), often being in the form of a taboo or incomprehensible term. This property is commonly associated with philosophy, aspects of existence, and similar concepts that are inherently "too great", complex or abstract to be communicated adequately. An example is the name of God in Judaism, written as YHWH but substituted with Adonai ("the Lord") or HaShem ("the name") when reading. In addition, illogical statements, principles, reasons and arguments may be considered intrinsically ineffable along with impossibilities, contradictions and paradoxes.
|
|
Long-haired Sun Deng playing the one-stringed zither in his mountain cave Sun Deng 孫登 (f. 230-260 AD) was a Daoist sage-recluse, a zitherist, and allegedly the last master of transcendental whistling. Chinese literature has various anecdotes about Sun Deng refusing to teach the musicians Ji Kang (223-262) and Ruan Ji (210-263), two of the iconoclastic Seven Worthies of the Bamboo Grove. The moral of the story about Ruan Ji visiting Sun Deng, who preferred supernatural whistling over traditional master-disciple dialog, is the ineffability of the Dao (as explained in the opening of the Daodejing).
|
|
The > answer, supplied by Tsou Yen and his school, is that things in a category > "vibrate" resonantly together, as two identically-tuned lute strings will > vibrate together, and do so through the medium of ch'i, an invisible, > aethereal, vibrant substance that permeates the universe. (Major 1993: 34) The Huainanzi has two versions of the earlier Zhuangzi zither string resonance analogy. Both Chapter 6 and Chapter 11 omit the reference to Lu Ju and his disciple who attracted yang to light a fire and yin to make ice, and each account adds a different interpretation. The shorter version refers to the Dao's mysterious ineffability.
|
|
William James popularized the use of the term "religious experience" in his The Varieties of Religious Experience. James wrote: This book is the classic study on religious or mystical experience, which influenced deeply both the academic and popular understanding of "religious experience". James popularized the use of the term "religious experience" in his Varieties, and influenced the understanding of mysticism as a distinctive experience which supplies knowledge of the transcendental: James emphasized the personal experience of individuals, and describes a broad variety of such experiences in The Varieties of Religious Experience. He considered the "personal religion" to be "more fundamental than either theology or ecclesiasticism", and defines religion as According to James, mystical experiences have four defining qualities: # Ineffability.
|
|
The poetry of Angelus Silesius consists largely of epigrams in the form of alexandrine couplets—the style that dominated German poetry and mystical literature during the Baroque era. According to Baker, the epigram was key to conveying mysticism, because "the epigram with its tendency towards brevity and pointedness is a suitable genre to cope with the aesthetic problem of the ineffability of the mystical experience."Baker, Christopher (ed.), "Johann Scheffler (Angelus Silesius)" in Absolutism and the Scientific Revolution, 1600–1720: A Biographical Dictionary (Wesport, Connecticut: Greenwood Press, 2002), 343. The Encyclopædia Britannica Eleventh Edition identifies these epigrams as Reimsprüche—or rhymed distichs—and describes them as: Silesius's poetry directs the reader to seek a path toward a desired spiritual state, an eternal stillness, by eschewing material or physical needs and the human will.
|
|
1 –23. #The linguistic turn in analytic philosophy Oxford Handbook for the History of Analytic Philosophy (Oxford University Press, 2013), pp. 926-47 #Wittgenstein on Grammar, Theses and Dogmatism Philosophical Investigations 35 (2012) #Metaphysics: from ineffability to normativity, for H.-J. Glock and J. Hyman eds. Blackwell Companion to Wittgenstein (Wiley-Blackwell, Oxford) #Intentionality and the Harmony between Thought and Reality, A rejoinder to Professor Crane #The Sad and Sorry History of Consciousness: being among other things a challenge to the “consciousness studies community” Royal Institute of Philosophy, supplementary volume 70 (2012) #A Normative Conception of Necessity: Wittgenstein on Necessary Truths of Logic, Mathematics and Metaphysics in V. Munz, K. Puhl, and J. Wang eds. Language and the World, Part One: Essays on the Philosophy of Wittgenstein, Proceedings of the 32nd International Ludwig Wittgenstein Symposium in Kirchberg,2009 (Ontos Verlag, Frankfurt, 2010), pp. 13-34 #Wittgenstein’s Anthropological and Ethnological Approach in Jesus Padilla Galvez ed. Philosophical Anthropology – Wittgenstein’s Perspective (Ontos Verlag, Frankfurt, 2010), pp.
|
|
At the basis of Zabat's work is a reflection on the forms taken by, and issues surrounding, contemporary representation of reality at once as the foundation of the artistic process, but also as human experience and a sociological and political marker. Since 1996 he has been entirely committed to an artistic approach involving an independent exploration in film, which favors video over photography, because he prefers “metamorphosis to fixing”. Olivier Zabat works on the image during the filming process with protagonists in difficult situations, sometimes even in situations of individual or collective crisis: mourning, illness, combat, accident, handicap, conflict, exclusion, criminality, war... In these situations means of resistance, resilience, and preservation of individual integrity come sharply to the fore, as do the problematics inherent in representation, such as incommunicability, anonymity, the unrepresentable, obscurity, blindness, ineffability and invisibility. In all of his films, both the participants and Zabat himself are trying to “see” and transmit their vision to viewers.
|
|
The central theme throughout the novel involves the natural human propensity to search for meaning with the constant risk of apophenia. Followers of the seemingly random clips seek connections and meaningfulness in them but are revealed to be victims of apophenia as the clips are just edited surveillance camera footage. Likewise, Cayce's mother turns to investigating electronic voice phenomena after Cayce's father disappears. Science fiction critic Thomas Wagner underscores the desire for meaning, or pattern recognition, using a comparison between the film clips and Cayce's search for her father after the attacks: > [T]he very randomness and ineffability of the clips flies in the face of our > natural human tendency towards pattern recognition ... [T]he subculture that > surrounds "following the footage" ... [is] an effective plot device for > underscoring the novel's post-9/11 themes: to wit, the uncertainty of the > fabric of day-to-day life people began to feel following that event … [We] > as people don't like uncertainty, don't like knowing that there's something > we can't comprehend.
|
|
The introduction of the thousandth of an inch as a sensible base unit in engineering and machining is generally attributed to Joseph Whitworth who wrote in 1857: :...instead of our engineers and machinists thinking in eighths, sixteenths and thirty-seconds of an inch, it is desirable that they should think and speak in tenths, hundredths, and thousandths..."A Paper on Standard Decimal Measures of Length", Manchester, 1857 Whitworth's main point was to advocate decimalization in place of fractions based on successive halving; but in mentioning thousandths, he was also broaching the idea of a finer division than had been used previously. Up until this era, workers such as millwrights, boilermakers, and machinists measured only in traditional fractions of an inch, divided via successive halving, usually only as far as 64ths (1, , , , , , ). Each 64th is about 16 thou. Communication about sizes smaller than a 64th of an inch was subjective and hampered by a degree of ineffability—while phrases such as "scant 64th" or "heavy 64th" were used, their communicative ability was limited by subjectivity.
|
|