PDF Thought-forms Download
- Author: Annie Besant
- Publisher:
- ISBN:
- Category : Theosophy
- Languages : en
- Pages : 152
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This book brings together for the first time two philosophers from different traditions and different centuries. While Wittgenstein was a focal point of 20th century analytic philosophy, it was Hegel’s philosophy that brought the essential discourses of the 19th century together and developed into the continental tradition in 20th century. This now-outdated conflict took for granted Hegel’s and Wittgenstein’s opposing positions and is being replaced by a continuous progression and differentiation of several authors, schools, and philosophical traditions. The development is already evident in the tendency to identify a progression from a ‘Kantian’ to a ‘Hegelian phase’ of analytical philosophy as well as in the extension of right and left Hegelian approaches by modern and postmodern concepts. Assessing the difference between Wittgenstein and Hegel can outline intersections of contemporary thinking.
"The text is at once a meditation on theories of form and an essay on the painter Gerhard Richter as a philosophical pragmatist. Richter serves as the inspiration for a broader argument about the nature of "art" itself and for what Klinger professes to be a fresh approach to contemporary art more generally. He (1) addresses the widely conceded exhaustion of the modernist-postmodernist paradigm that has been used to negotiate the "essence of art" for decades and (2) offers what he says is a solution to the resulting gap that leaves us unclear on how to make art and talk about it. He draws on Kuhn's definition that a paradigm consists of the pre-theoretical framework of any practice: While rules and principles, where they exist, grow out of the paradigm, the paradigm can guarantee the functioning of a practice in the absence of rules. He sees Richter as relevant because the painter has never accepted the modern, neo-avant-garde, or postmodern movements as paradigms for his production. Klinger maintains that the goal of Richter's artistic program is "to replace traditional essentialist models of artistic form by a pragmatic model" of respecting the properties of actual physical substances at hand, such as paint, and making art in terms of process rather than with a prescribed end. This way, the modernist-postmodernist paradigm is neither affirmed nor perpetuated in the mode of its reversal, critique or deconstruction, but replaced by something else that forms an effective reaction to the situation without directly deriving from it"--
In recent times, the subject of consciousness has emerged as an important paradigm of scientific investigation and research despite most of its concerns having roots in philosophy, religion and occultism. What is consciousness? What is the substance of consciousness? Is it material or immaterial, mortal or immortal? How is it connected with a body? Has it a particular seat in any particular body as the brain does? Is consciousness synonymous with mind? Is it eternal and non-local? These questions have interested thinkers for many centuries. It is the object of this book to demonstrate, through a series of cases reported across the world at various times relating to many curious mind-related phenomena like the creation of mental entities, the imprints of indelible images on the human body, stigmata, birthmarks and bodily deformities corresponding to the injuries sustained in the previous life, thought-photography, materialization experiments etc., that: · Human mind can bring into being thought-forms and can exteriorize them, giving them some objective consistency. · There can be continuity of thoughts even after the destruction of the physical brain. · These psychic entities are sometimes given a kind of autonomy so that they may act and seemingly think without the consent or even knowledge of their creator. The book does not stop with the mere reproduction of recorded cases and just messaging the dimension of the problem, but extends over to solve it by suggesting a bio-holographic theory of body and mind. The book is alike novel, fun-filled, profound and useful, thus affording the blend of interest and instruction which cannot fail to render it interesting to the inquisitive and candid mind.
The brain ... There is no other part of the human anatomy that is so intriguing. How does it develop and function and why does it sometimes, tragically, degenerate? The answers are complex. In Discovering the Brain, science writer Sandra Ackerman cuts through the complexity to bring this vital topic to the public. The 1990s were declared the "Decade of the Brain" by former President Bush, and the neuroscience community responded with a host of new investigations and conferences. Discovering the Brain is based on the Institute of Medicine conference, Decade of the Brain: Frontiers in Neuroscience and Brain Research. Discovering the Brain is a "field guide" to the brainâ€"an easy-to-read discussion of the brain's physical structure and where functions such as language and music appreciation lie. Ackerman examines: How electrical and chemical signals are conveyed in the brain. The mechanisms by which we see, hear, think, and pay attentionâ€"and how a "gut feeling" actually originates in the brain. Learning and memory retention, including parallels to computer memory and what they might tell us about our own mental capacity. Development of the brain throughout the life span, with a look at the aging brain. Ackerman provides an enlightening chapter on the connection between the brain's physical condition and various mental disorders and notes what progress can realistically be made toward the prevention and treatment of stroke and other ailments. Finally, she explores the potential for major advances during the "Decade of the Brain," with a look at medical imaging techniquesâ€"what various technologies can and cannot tell usâ€"and how the public and private sectors can contribute to continued advances in neuroscience. This highly readable volume will provide the public and policymakersâ€"and many scientists as wellâ€"with a helpful guide to understanding the many discoveries that are sure to be announced throughout the "Decade of the Brain."
We think with objects—we conduct our lives surrounded by external devices that help us recall information, calculate, plan, design, make decisions, articulate ideas, and organize the chaos that fills our heads. Medieval scholars learned to think with their pages in a peculiar way: drawing hundreds of tree diagrams. Lines of Thought is the first book to investigate this prevalent but poorly studied notational habit, analyzing the practice from linguistic and cognitive perspectives and studying its application across theology, philosophy, law, and medicine. These diagrams not only allow a glimpse into the thinking practices of the past but also constitute a chapter in the history of how people learned to rely on external devices—from stone to parchment to slide rules to smartphones—for recording, storing, and processing information. Beautifully illustrated throughout with previously unstudied and unedited diagrams, Lines of Thought is a historical overview of an important cognitive habit, providing a new window into the world of medieval scholars and their patterns of thinking.
In this passionate, lucid, and surprising book, Timothy Morton argues that all forms of life are connected in a vast, entangling mesh. This interconnectedness penetrates all dimensions of life. No being, construct, or object can exist independently from the ecological entanglement, Morton contends, nor does ÒNatureÓ exist as an entity separate from the uglier or more synthetic elements of life.