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predicate calculus

Sorry if its not the right place to ask but I‘m trying my luck (: is there a way to write in PC formula the famous saying „all I know is that I know nothing“ ? Took introduction to semantics a thousand years ago and now I‘m wondering ….if you know the answer I‘ll love you forever!
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Total Topics: 25
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grizolinda wrote:
Sorry if its not the right place to ask but I‘m trying my luck (: is there a way to write in PC formula the famous saying „all I know is that I know nothing“ ? Took introduction to semantics a thousand years ago and now I‘m wondering ….if you know the answer I‘ll love you forever!

Hi grizolinda,

For the prize of prizes „I‘ll love you forever!“, I must give it a go.

„all I know is that I know nothing“ is absurd, it is self-contradictory.

1. (I know that there is no proposition that I know) implies (there is no proposition that I know).

2. (I know that there is no proposition that I know) implies (there is a proposition that I know).

3. (I know that there is no proposition that I know) implies ((there is no proposition that I know) and (there is a proposition that I know)).

4. ((there is no proposition that I know) and (there is a proposition that I know)), is a contradiction.

5. (I know that there is no proposition that I know) implies (contradiction).

6. Only contradiction implies contradiction.

therefore,

7. (I know that there is no proposition that I know) is a contradiction. Siriuu|uusz Cs^Rasse Pawlow|pH..*

The Fragmentation of Mass Culture

Much progress in history (real or imagined) has occurred through the assimilation of the ideas of the neighbor. This melting pot, which i call „the conquest of scale“ (i.e. the triumph of the mass) has assimilated, a vast body of human thought and culture; but this conquest has scoured the earth, scraping up much of what is individual and unique in culture. What is left behind from this trawling net of assimilation are alienated and estranged orphans of thought, who long to reconnect with that which is new and interesting. They seek out what has not been assimilated and commodified into vast bland homogeneous sacred symbols of power and control.

I open by accentuating the bleak but I did this not to claim that this is reality but rather to depict darkly a perception of „the mass“ and „the homogeneous“; and further to illustrate the conception of a repetitive and daunting repetition of „The same“. This doesn‘t mean that this is what our reality is but this is what our reality of mass culture is. Mass culture by its nature is the repetition and reproduction of the ordinary. Merit is measured by the influence which it exerts on culture through the established channels of power. Not all culture is mass but the codification of culture perpetuates this mass homogeneity.

In all times there is resistance to this mass homogeneity. In early times this resistance has taken place through religious movements: such as the rise of Christianity or the reformation. In these types of revolution a new symbolism emerges to fill the voids created through the excesses of the old. In what I‘ll call middle history (the renaissance and the enlightenment) revolution emerged as an attempt to resolve the contradictions in the dominate ideologies. As Noam Chomsky says, historically the Anarchists were the people who took enlightenment philosophers at their word. The ideals of universal laws which acted to ensure the “good behavior” of the ruled turned back upon kings whom were accused of „Arbitrary Power“. The law and what is right became more sacred than the King and this displaced Kings as symbols of power.

These early forms of revolution may or may not have originated by people in established positions of power but they have always been co-opted by the powerful. As Marx said the dominant intellectual force is the dominant material force. Christianity which was the religion of the slaves became the religion of rich and powerful popes. The Protestant religion became a tool by Kings to supplant the power of Popes, and in France the arbitrary rule of King Louis was replaced by ambitions for conquest by a small man who sought to project the size of his power across Europe. In all these cases rather then supplanting the domination of, „the mass“, instead a new order replaced the old. The counter culture either evolved or devolved into new structures of power. In these periods of transition we have what Lenin called „Dual Power“. Today corporate power is the dominant form of duel power.

When counter movements are few in number they are easy to co-opt. History limited the scope and power of counter movements because culture was expensive to produce. Either the tedious reproduction of religious texts by monks or the early elaborate printing press with movable type were aligned to punch out texts in mass so as to perpetuate culture through expensive processes that required a consolidation of power over culture. The progressive movement in the United States relied on cheap post but such means still relied on a limited number of Journals and alternative press to circulate a message that is counter to the established channels of cultural reproduction.

The internet has revolutionized our ability to communicate and has thereby vastly reduced the cost of reproducing culture. This has allowed for sources of cultural change to emerge much more spontaneously in reaction to failures in mass culture. For instance, one such failure is the failure to relate to the interests and concerns of people in a truthful, sincere and accurate manner.

Because of our new ability ……

100 years Turki|ya out of Arab|°Lizenzentzugsverfahren Hamburger SV‘.-cos nos.-double books blogsport.d

Rechtsanwalt-cost and public opinion ‚Gemeindewesen‘.-

It occurs to me that with artistic creations (and I include pulp fiction, even Mills and Boon, in that), every new creation must have something that differs from existing works, if it is to sell and be admired. Further, that can‘t just be a trivial thing, like the protagonist’s name.

A computer program is a pattern, that can generate patterns as output. Humans are good at recognising patterns and, as soon as they recognise a creation as having the same essential pattern as that of another, the accusation of plagiarism (or just lack of originality) goes up.

So I suppose the challenge for the writer of computer programs to generate novels or music is to make it complex enough that the pattern to which it writes is not detectable by most humans. That is of course difficult because it is a human writing the program, so they have to be able to see the pattern, but most other people must be unable to see it. That doesn‘t necessarily mean it’s impossible, just very difficult.

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What would have been made clearer be refering to Turing Machines and the Halting Problem? What haydar wrote, was after all, „Some scholars (e.g. Penrose & Lucas) have argued that human minds are unlike machines using Godel’s Theorem“. One such argument from Lucas is to be found in „Minds, Machines and Gödel“, Philosophy, XXXVI, 1961, pp.(112)-(127) where Lucas wrongly claims:

Symbol question

I haven‘t been able to find this anywhere, so I apologize for such a basic question. What does „‚“ mean in logic? for example: „If it were that A, then it would be that C‘ is true if and only if C is true at the selected A-world.“

What’s the difference here between C||0′ and C||O.-cosa nostra.-

Bela

Helsinki|CCC~Stormy Daniels feminist assbx tat|two otro kHz (1991-) Director of Hamburg University Film School

Impstead a whole suicidhaal ‚Bauwagenproject°isle‘.-rich kids play Inn poor‘…



Hate ya

‚Einlink‘ 1992 Earth First Frontline ‚beer‘

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<strong/>h“ /></p>
<p><strong>Why Blackfellows Never Travel Alone</strong><br />
<em>A Legend of the Wallaroo and Willy-Wagtail</em></p>
<p>Alone, on a rocky ridge high in the mountains, a wallaroo made his camping-ground beneath the shady boughs of a mountain ash. He was very old and infirm, and too weak to hunt for food, so he sat by his camp fire all the day and lashed the ground with his strong tail. The low, rhythmic thud-thud-thud of its beating could be heard above the song of the birds. One day a paddymelon was passing close by the camp when he heard the beating of the wallaroo’s tail. After following the direction of the sound, he came to the camp, and asked the wallaroo if he was in trouble. „I am very sick,“ the wallaroo replied. „Many times have I seen the snow on the mountains, and I am growing too old to hunt. My brothers have gone to the river beyond the hills to spear fish for me, but they have not returned, and I am very hungry.“ The paddymelon was sorry for the old wallaroo, and offered to go to the river in search of the fishermen. He walked a short distance from the camp when the wallaroo, called after him: „You had better take my boomerang with you, as you may meet some game on your way.“ The paddymelon turned around and said: „All right, I shall take it. Throw it to me!“ The crafty wallaroo picked up the boomerang, and, taking careful aim, threw it with all his strength. It struck the unfortunate paddymelon a terrible blow and killed him. The wallaroo took the fur from the dead animal and prepared the body for cooking. He dug a hole in the ground, lined it with stones, placed the meat in it, and covered it with flat stones. He then built a fire over it, and in a short time had cooked a tasty meal.</p>
<p>When the paddymelon did not return home, his relatives became very anxious about him. At last an iguana offered to go in search of the missing member of the tribe. He followed the tracks of the paddymelon through the bush, and they led to the camp of the wallaroo. When the iguana approached the camp the wallaroo was beating his tail on the ground. The iguana asked him if he needed any assistance, and, in a plaintive voice, the wallaroo told him the same tale that had been told to the unlucky paddymelon. The iguana was sorry for the old wallaroo, and offered to seek his relatives for him and tell them of his plight. When he turned to go, the wallaroo asked him if he would take a spear with him in case he met with any game on his way. The iguana said, „I will take it; throw it to me.“ The wallaroo had been waiting for this opportunity, and he hurled the spear so swiftly that it transfixed the iguana before he could jump aside. The wallaroo then prepared another meal as before.</p>
<p>One day passed, and yet another, but the iguana did not return to the hunting ground of his tribe. They sent a bandicoot in search of the iguana, but he met the same fate at the hands of the wallaroo. After waiting anxiously for the return of the bandicoot, the head-men of the tribe called a great council. When all the members were assembled together a headman said: „Many moons ago our brother the paddymelon left the camp before the sun was over the hills, and when night came he did not return, and his shadow has not darkened the ground for many days. The iguana went in search of him. He is a great hunter, but he has not returned. Yesterday the bandicoot followed in their tracks, but I fear the shadow of death has fallen over them. We must find them.“ Many suggestions were placed before the council, but none of them seemed practical. Then the willy-wagtail, who was a clever medicine man, spoke: ….	22:34 Chat by BummerHosting.com 5.0, Build #702<br />
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This is Ingleland.-

Orau: From the Beginning John Bathurst Deane

afriquefrontieres.org …
---------------------------------Sammlung Prinzhorn*

CHAPTER V
THE TREASURE OF HIS BROW

ALTHOUGH men have often been uncertain where unicorns were to be found, there has never been the same difficulty with regard to unicorns‘ horns. These have never been plentiful and they have usually been very dear, but they have been known. Almost any well-read or widely travelled European of the sixteenth century would have been able to name eight or ten whole horns kept in cathedrals, monastic houses, or kings‘ treasuries, not to mention the innumerable smaller pieces to be found in the hands of the wealthy. The study of these horns, of their distribution, origin, and use, leads into the centre of unicorn lore.

„Come we now“, in the words of Thomas Fuller, „to the fashion and colour of the Horn, conceiving it no considerable controversy concerning the length and bignesse thereof, quantity not varying the kind in such cases.“ It is hard to know just what Thomas Fuller, who lived victoriously and contentiously through the English Civil Wars, may have understood by a „considerable controversy“, but this one has been long and earnestly waged. Ctesias gives the length of the horn as one cubit or eighteen inches, Aelian as a cubit and a half, Pliny as two cubits, Solinus and Isidore as four feet, Cardan as three cubits, Rabelais as six or seven feet, and Albertus Magnus as ten feet. At this point the growth of the horn was checked, for the animal that bore it was obviously becoming top-heavy and needed, as several sceptics pointed out, to be „as big as a ship“ merely to carry such a formidable bow-sprit. Arabian writers showed less retraint, for Al Damiri, among others, asserts that the unicorn, for all its great strength, is unable to lift its head because of the great weight of its horn. Other Arabian authorities inform us that he often carries about on this horn the bodies of several elephants which he has „perforated“. Although the spoils went to the victor in these contests, they were frequently--as in human affairs--quite as lethal as defeat, for Alkazuwin says that when once the unicorn has gored the elephant he is unable to remove the corpse from his horn, so that he either starves to death or else dies of the putrefaction. (Here was material for a powerful pacifistic allegory, if the Arabs had been given to such things.) The end comes when the roc, seeing the unicorn with one or more elephants impaled upon his horn, swoops down and bears the whole mass of flesh away as a titbit for its young.

Concerning the length of the alicorn, then, one could think almost whatever one liked. The time was to come when specimens almost if not quite as long as that described by Albertus Magnus were to be seen in Europe, and undoubtedly the respect in which the unicorn was everywhere held was maintained by the effort to imagine a beast to which a horn ten feet in length would be proportionate.

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https://duckduckgo.com/?q=Free+mathematics+software+X|ao|%27Sonderschutz%27+konkludent

„For me, writing criticism is not about producing critical discourse. It’s more about thinking through what is wrong with the art world as it is,“ explains writer Brian Droitcour, who is currently working through some of these problems by writing reviews on Yelp, the website that hosts user-generated reviews of storefront businesses. Unlike other sites that prominently feature reviews, Yelp does not sell objects or facilitate services—it simply organizes and facilitates the creation of user-generated content.

Bel ||«])))* https://soundcloud.com/search/sounds?q=No%20means%20no%20Punk&filter.genre_or_tag=punk

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Interdamme Heir|Bungalows Party

SOS Bashir Bremen

There was a moment, in the weeks following the events of September 11, 2001, when a need for renewed thinking on fundamental cultural values, on the meaning and possibility of civic participation, and on notions as basic as mourning and commemoration, on peace and war, emerged unmistakably in American consciousness. This awareness receded dramatically as the media assumed the national work of mourning, and it quickly ceded to ideological certainty in the administrative consolidation (under the name of a „war on terror“) of a conservative agenda. (42)
—Christopher Fynsk, The Claim of Language: A Case for the Humanities.-cos nos.-

[1] In the epigraph above, Christopher Fynsk highlights the failure of the humanities to deal sufficiently with the problem of 9/11. Most of the questions surrounding the disaster involved the usual sort of post-mortem fare on cable news networks. Once we knew who flew the planes, the discussion moved toward the larger networks and logistics that made 9/11 possible, as well as the questions of why. While the humanities should have helped the American citizenry to deal with the socio-cultural implications of this disaster, it did little to prevent a dominant American ideology from answering some of these questions with an enlightenment-based, scientific approach, and allowed the Bush administration to assert that the best way for the ordinary citizen to deal with the problem was to „shop-till-the-terrorists-dropped.“

[2] From this perspective, the humanities failed the American people. Or, we were the problem all along, and the humanities failed to solve us. Instead of relying on the sciences to answer questions about 9/11 (including all of the social sciences), what America really needed was the humanities to help it understand its situation, from which it might engage in practical reasoning to make decisions. Fynsk makes a telling observation when he asserts that the media took on the task of mourning for the nation. As the fourth estate, the media’s role is to oversee the official versions of events furnished by the government so that it can determine their validity, ascertain who benefits from such narratives, and whether or not they are in the public’s best interest. However, as Fynsk surmises, the media instead became implicit in sanctioning the official version of events. Traditionally, the humanities has taken up three tasks to justify its existence. The first involves the Human-Text Interface, or more simply, literacy. Second, the humanities is expected to teach critical thinking, which is required by citizens in a democracy so they can make decisions in their best self-interest. However, the last aspect, and the one that Gregory L. Ulmer sees as most lacking in the 9/11 disaster, is that of self-knowledge. It is self-knowledge, in conjunction with aesthetic thinking, which Ulmer takes up in Electronic Monuments.

Bel

What a Jr. could mean…

Tele|GDR ‚Kessel Buntes‘-1981 http://i-d.vice.com/en_gb/search?q=sochkat ethnopoetics discourses

Weltaustellung Vanilie 1900 |[c.e.t.]| http://britishpathe.com/video/eric-woodburn/query/actors ~+°Results for Pantomime Afrique Eric Woodburn

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left hanging, & tried for the rest to keep clear of what was after all his poem. Later I titled it Thank You: A Poem in 17 Parts, & wrote a note on it for the Mexico City magazine El Corno Emplumado, where it was printed in English & Spanish. This is the first of the seventeen sections:

Now so many people that are in this place.

In our meeting place.

It starts when two people see each other.

They greet each other.

Now we greet each other.

Good save tique Queen af|tha Bad Paki Pinkskool

Now he thought.

I will make the Earth where some people can walk around.

I have created them, now this has happened.

We are walking on it.

Now this time of the day.

We give thanks to the Earth.

This is the way it should be in our minds.

[ Note. The set--up in English doesn‘t, as far as I can tell, reproduce the movement of the Seneca text. More interestingly it’s itself a consideration of that movement: is in fact Johnny John’s reflections upon the values, the relative strengths of elements in his text. The poet is to a great degree concerned with what--stands--out & where, & his phrasing reveals it, no less here than in any other poem.]

Even when being more active myself, I would often defer to others in the choice of words. Take, for example, a set of seven Woman’s Dance songs with words, composed by Avery Jimerson & translated with help from his wife, Fidelia.

ConZEN trait oir starwars black U|rhynne versaille Bern neutral-Kirchner

Power, Iatrarchy / Illness, Violence

Apply. Apply ILLNESS to everything [ALL]. Apply everything [ALL] to illness. Illness as nothing but a thoroughly technical matter. To intercede in favor of illness: everybody, every time and everywhere. And, what is no more nor less: turn upside down, shake up [umkrempeln]. Laugh yourself ill at everything that is shrinking by health [gesundschrumpfen]. Stigmatize yourself in favor of illness. Shrink by illness [krank schrumpfen] the Patients’ Front up to a Front’s patient.

What illness are we talking about? We are talking about precisely that FORCE that, being bent and folded in its own [in sich verschraenkte Kraft], is jumping over itself as LIMIT [die sich als Schranke ueberspringt]. For that we are talking about each and every illness. The one you call ‘cancer’, for its moving in retrogression like a crab, is acting just like the so-called lunacy [die krebsende macht es nicht anders als die waehnende], and the lethal one acts equally as the starving one. It’s deadly serious, feasible, and it has to be done, on the spot, urgently.

To the one who dares to embrace illness as a weapon, violence (root: death) is becoming a value without force, and power (root: magic) is quite a humbug without limits [schrankenlos fauler Zauber]. Illness is the crowbar made of force and limit [Krankheit ist das Brecheisen aus Kraft und Schranke]. Iatrarchy (the violent power of the doctors‘ class which is the violence of HEIL as such) is the appropriate, because of its being pleonastic, superfluous word beyond and on the right side of illness and the fraction-line.

Tactical areas of the application of illness (pathopractical topoi) are: Coming-into-and-remaining-in-being [Werden, Prozess, Hegel], World [Welt], and Word [Wort]. The pathopractic action (pathopractice) consists in bending in itself force and limit of coming-into-and-remaining-in-being, world and word, up to the point in which they crack:
ILLNESS THAT’S THE POINT [the punctum saliens] when we change
Coming-into-and-remaining-in-being from ’staying in health‘ into turmoil [Wirre]
World into becoming ill
Word into attack [Widerstreit].
Until now, Coming-into-and-remaining-in-being, World and Word are constituted as violent power of the doctors‘ class, as violence of salus [HEIL].
Coming-into-and-remaining-in-being is, of course, thus: naturally, not to say iatrarchically: staying in health;
World is the violence of value without limits [schrankenlose Wertgewalt];
Word is the terrorist platen and armoured press against illness (therapy).
And illness itself, being chopped up into pieces as somatosis, psychopathy, reaction, evil, guilt, psychosis, neurosis and deviancy, is the bellows and the strengthening syringe of Iatrarchy and metaphysics, in brief: it’s the puffed up storage of the forces of what is shrinking by health [aufgeblasener Kraftspeicher der Gesundschrumpfung].

This „illness“ is to be taken as life itself: to laugh oneself ill at it.

The Negro, by W.E.B. Du Bois, [1915], at sacred-texts.com

p. 36
V GUINEA AND CONGO

One of the great cities of the Sudan was Jenne. The chronicle says „that its markets are held every day of the week and its populations are very enormous. Its seven thousand villages are so near to one another that the chief of Jenne has no need of messengers. If he wishes to send a note to Lake Dibo, for instance, it is cried from the gate of the town and repeated from village to village, by which means it reaches its destination almost instantly.“ 1

From the name of this city we get the modern name Guinea, which is used to-day to designate the country contiguous to the great gulf of that name--a territory often referred to in general as West Africa. Here, reaching from the mouth of the Gambia to the mouth of the Niger, is a coast of six hundred miles, where a marvelous drama of world history has been enacted. The coast and its hinterland comprehends many well-known names. First comes ancient Guinea, then, modern Sierra Leone and Liberia; then follow the various „coasts“ of ancient traffic--the grain, ivory, gold, and slave coasts--with the adjoining territories of Ashanti, Dahomey, Lagos, and Benin, and farther back such tribal and territorial names as those of the Mandingoes, Yorubas, the Mossi, Nupe, Borgu, and others.

Recent investigation makes it certain that an ancient civilization existed on this coast which may have gone back as far as three thousand years before Christ. Frobenius, perhaps fancifully, identified this African coast with the Atlantis of the Greeks and as part of that great western movement in human culture, „beyond the pillars of Hercules,“ which thirteen centuries before Christ strove with Egypt and the East. It is, at any rate, clear that ancient commerce reached down the west coast. The Phœnicians, 600 B.C., and the

p. 37

[paragraph continues] Carthaginians, a century or more later, record voyages, and these may have been attempted revivals of still more ancient intercourse.

‚Hochschule fur Bildene Kunstbums‘ 2013 BX~+

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Joe le Taxi……solved Ever dream…

„Careless whisper“~father fiqh a Statuedda ante Imperio

Theme for the New Year’s Poetry Reading (2014) : SEI (quiet)

His Majesty the Emperor
Spreading beyond
The memorial monument
I see before me
The sea of Minamata
So blue, so calm, and so still.
Ireihi no
Saki ni hirogaru
Minamata no
Umi aokushite
Shizuka narikeri

(Background of the poem)
In October Their Majesties the Emperor and the Empress visited Kumamoto Prefecture to attend the National Convention for the Development of an Abundantly Productive Sea and visited the city of Minamata for the first time to participate in the Welcome Ceremony at sea and the release of young fishes into the water. On Their arrival, Their Majesties offered flowers at the Memorial Monument for Minamata Disease Victims. In this poem, His Majesty describes how, on that occasion, He saw the sea of Minamata spreading beyond the Memorial Monument.

Minamata disease is a neurological syndrome caused by severe mercury poisoning, first discovered in Minamata city in Kumamoto Prefecture. It was caused by the release of methylmercury in the industrial wastewater from Chisso Corporation’s chemical plant, which continued from 1932 to 1968.

Her Majesty the Empress
„I now leave to serve
The deity soon to be moved
To a newly built shrine“
So saying with eyes serene
Our daughter left for Ise.
Miutsuri no
Chikaki miyai ni
Tsukauruto
Hitomi shizukani
Ko wa iite tatsu

(Background of the poem)
Ever since her appointment the year before last as a Special Priestess for the relocation of the deity of the Grand Shrine of Ise, Ms. Sayako Kuroda, Their Majesties‘ daughter, served in a series of ceremonies at the shrine on a number of occasions. The deity has been relocated and installed in a new shrine rebuilt every 20 years since A.D. 690, when the practice first began. In this poem, Her Majesty describes how her daughter came to see Their Majesties in September before her departure for Ise.

His Imperial Highness the Crown Prince
The graceful sound of singing is heard in the stillness of the Sanctuary during the Niiname-sai.

(Background of the poem)
His Imperial Highness accompanies His Majesty The Emperor to the Niiname-sai, the Harvest Thanksgiving Ceremony celebrated from the night of November twenty-third until the morning of the twenty-fourth every year in the Shinkaden housed in the Sanctuary of the Palace. This poem depicts his appreciation of the elegant sounds of the sacred Mikagura music performed outside as heard within the silence of the Sanctuary.

Her Imperial Highness the Crown Princess
As though it enwraps even the sorrow, the sea off Kamaishi lies in tranquility.

(Background of the poem)
In November, Their Imperial Highnesses The Crown Prince and Princess visited Kamaishi in Iwate Prefecture, the site of the great earthquake disaster.
The city was severely damaged by the earthquake and tsunami of March, 2011 and is now in the process of recovery. Their Highnesses were most happy to learn there that in May of last year sea urchin fishing had resumed in the Heita District of Kamaishi 2 years after the disaster.
On the day of their visit, the bay of Kamaishi was tranquil. This poem expresses Her Highness’s earnest desire that the sorrow of the people who for many years have lived with the ocean would gradually be lifted, and that the ocean would peacefully protect the livelihood of the people and bring them bountiful blessings.