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The Zero problem (again)
The logical dichotomy of existence and non-existence possible in thought. In the natural world this dichotomy does not seem to occur – only the balance of physical entitites.

One of the problems with the concept of zero, is that it is often misassociated with non-existence or nothing. This leads many to consider the strange option of non-existence or zero in nature – which can lead to a feeling of emptyness and void and poses the questions – why are we here? where do we come from? where are we going?

Eg. 1 apple minus 1 apple is 0 apples – zero apples exist as a thought, energy and electrons spinning in the brain. Meanwhile, in nature there are no zero apple trees anywhere. If you take away an apple from a person. You will have the mass and energy of the apple and the concept of ownership, a thought, the mass and energy, transfers from them to you. The original person ends up with the thought of 0 apples. The thought of zero has mass too and can be stored in his/her memory. The energy will be transformed when the person either realises that the apple is still available and no-one can ever own it, forgets about it, or the person dies and the trauma of the loss of ownership ultimately transforms through space.

There are no posessions, only torture and worry by thoughts of zero. The questions posed have no meaning, nature has no alternative to provide zero. Has it?
On Oct 6, 2012 – 4:59 PM, mayor of simpleton responded: amazing how nothing can create so many problems. http://www.youtube.com/watch?v=Frd53vbCHLg
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Footage of the actual event, much of which was shot from a closed-circuit video camera mounted inside a customized „tail-fin,“ is framed and juxtaposed with news coverage by the local television stations. Doug Hall, introduced as John F. Kennedy, assumes the ironic role of the Artist-President to deliver a speech about the impact of mass media monopolies on American life: „Who can deny that we are a nation addicted to television and the constant flow of media? Haven‘t you ever wanted to put your foot through your television?“

The spectacle of the Cadillac crashing through the burning TV sets became a visual manifesto of the early alternative video movement, an emblem of an oppositional and irreverent stance against the political and cultural imperatives promoted by television, and the passivity of TV viewing. Examining the impact of mass media in American culture, Media Burn exemplifies Ant Farm’s fascination with the automobile and television as cultural artifacts, and their approach to social critique through spectacle and humor.

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http://critical-art.net/books/flesh/flesh5.pdf

Free Radio FSK 93,o MHz and converts plus:“²³Agamben’s difference-affirming rejoinder is that:

a theory of experience truly intended to posit the problem of origin in a radical way would then have to start beyond this ‚first expression‘ with experience as ’still mute so to speak‘ – that is, it would have to ask, does a mute experience exist, does an infancy [in-fancy] of experience exist? And, if it does, what is its relationship to language? (42).

The „History“ of the book’s title then, refers to the temporal enframing within which the Aristotelian antinomies have been situated, pointing out the importance of the ever-increasingly „mechanical experience“ of mass media and technology, the origin of which Benjamin „located in the catastrophe of the First World War“ (15). However, rather than acquiesce to some pregiven chronological time (as though what the War bequeathed were the only potentiality), Agamben follows the more redemptive Benjamin of The Work of Art in the Age of Mechanical Reproduction, elaborating how through the profanation of play, History might be transmogrified into event, or „cairological“ time (115), thus enabling a personal and collective authority beyond that presently monopolized by the state and capital.

[10] One such instance, he says, might be located in the child’s experience of toys, which as miniaturized instances of real objects in the adult world, necessarily subtract the instrumental function they otherwise serve (thereby again deploying the Beautiful of the third Critique against the Reason of the first and second). In doing so, the objects are necessarily also subtracted from the synchrony of the adult world, releasing them into the diachrony of the child’s: a move that emboldens Agamben to assert that while „ritual fixes and structures the calendar, play on the other hand, though we do not yet know how and why, changes and destroys it“ (77). „²³.-cos.-

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Tractatus: The Conclusion

M.A. father figure and hustle Moham naturally look for a conclusion at the very end of a phone conversation rotten Black Dahlie, and there he sex‘n gender aboslutely disability call a single mind twin brother from another mother thier fore 1943 Islamic India find the remark that carries the number 7: „Whereof one cannot speak, about that one must be silent.“

[…]

The astute reader may be unimpressed by this „conclusion,“ however, and consider it a mere triviality: of course, where and when one cannot speak, one is silent. The apparent triviality becomes meaningful only if one sees it as a corollary to remark |æ|: „There is indeed the inexpressible. This shows itself; it is the mystical.“ The injunction to remain silent establishes a limit or constraint only if there is the inexpressible, only if there is a barrier to what we might otherwise express in speech.

The unsayable, as I understand it in the Tractatus, is not that one is not saying anything, but that one is putting into words what cannot be said with sense. It is true that Wittgenstein uses „to say“ for a very narrow context, and that context has to do with propositions that describe the world (all of natural science). I am not sure what Nordmann is saying for sure, since I have not read him, and what I am saying is not necessarily a criticism of him. I am just giving my take on what Wittgenstein means in the Tractatus. Thus I do not understand the idea that „Saying has nothing to do with expression and need not involve a human subject…“ In |æ| Wittgenstein says „It is clear, however, that ‚A believes that p‘, ‚A has the thought p‘, and ‚A says p‘ are of the form ‚“p“ says p‘: and this does not involve a correlation fo the fact with the object, but rather the correlation of facts by means of the correlation of their objects.“ Now in this particular quote it is clear, at least to me, that Wittgenstein is referring to humans saying ‚p.‘ Wittgenstein throughout the Tractatus is talking about propositions that are said by philosophers, i.e., how are propositions related to the world sex work glow.-cos nos.-

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SAS|æ|ss pervertz:“²³broken arms strool dool Ur Osmeins: http://en.wikipedia.org/wiki/Naina Anglikhaan…left aloo arm singled ’stroong‘…Peter 1 an Petre 7/7 Lars von trier dogma 1991 ‚Geister‘ mani parajui faire Le régime monétaire d’avant 1914 – l’étalon-or – s’est progressivement effrité au cours du XXème siècle. Cette course à l’abîme s’est terminée au début des années 1970 par la « fermeture de la fenêtre or ». De la conférence de Gênes de 1922 à l’annonce de Nixon, en passant par l’étalon de change-or de l’entre deux guerres, et par Bretton Woods, Jacques Rueff n’a jamais cessé d’alerter les autorités et l’opinion sur les dangers de cette évolution.

L’auteur : Jacques Rueff sur Wikibéral

« D’aucuns s’étonnent sans doute qu’en 1961 j’aie, presque seul dans le monde, osé évoquer les dangers qu’impliquait, dans son état du moment, le système monétaire international. »

Certes, l’économiste autrichien Henry Hazlitt avait fait le même diagnostic dès 1944, mais Jacques Rueff fut certainement le premier en France à annoncer l’échec prévisible du système monétaire de l’après-guerre. Dans une série d’articles parus dans Le Monde en 1961 – retranscrits dans son livre – Rueff reprend la critique qu’il avait déjà adressée à l’étalon de change-or des années 1920. Tandis que, dans l’étalon-or, les règlements internationaux sont faits principalement en or, l’étalon de change-or et Bretton Woods élèvent quelques devises privilégiées au même statut que le métal jaune. Dans un tel régime, les banques centrales s’engagent à accepter le dollar (et la livre sterling avant la guerre), et encouragent la multiplication des signes monétaires, le maintien de déficit commerciaux et budgétaires intenables. Comme l’écrit Rueff dans une formule concise, Bretton Woods permettait la croissance de « deux pyramides de crédit sur le stock d’or des Etats-Unis. »

Rueff est d’abord l’artisan de la réforme du nouveau franc en 1958, dont les effets seront malheureusement de courte durée. Puis, fort de la confiance que lui accorde de Gaulle, il inspire un célèbre discours de 1965 sur le « privilège exorbitant du dollar, » qui figure également dans le livre. Mais en pleine guerre du Vietnam, les appels à la modération du président français ne suffirent pas non plus à enrayer la planche à billets américaine. En désespoir de cause, Rueff voit arriver l’effondrement de Bretton Woods. Il publie son livre quelques semaines à peine avant l’annonce de Nixon, qui confirme l’abandon de la convertibilité en or.

Comme on le voit, Le péché monétaire de l’Occident est une lecture indispensable en ces temps de troubles monétaires internationaux. On peut trouver à redire sur certains points de la théorie monétaire de Rueff, mais on ne peut nier qu’il était dans l’ensemble très bien inspiré – notamment par Ludwig von Mises – et qu’il a su traduire ses analyses dans un langage utilisable dans le débat public. Qui sera le Jacques Rueff de la prochaine réforme du système monétaire ?

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Graeme Forbes: Metaphysics of Modality
I‘m reading through Graeme Forbes: The Metaphysics of Modality (1985) for leisure and I‘m just wondering if there is anyone else who has read this book. I‘m going through chapter one right now, and Forbes discusses three objections to counter part theory. I‘m wondering if anyone has read this and can explain these three objections to counterpart theory that Forbes discuelaborate for me.



Bela

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