Inspirational quotes with semantic.
Never underestimate the ridiculous things that have been done in the name of religious-semantic obscurity.
It is important to view knowledge as sort of a semantic tree -- make sure you understand the fundamental principles, ie the trunk and big branches, before you get into the leaves/details or there is nothing for them to hang on to.
If we do not objectify, and feel instinctively and permanently that words are not the things spoken about, then we could not speak abouth such meaningless subjects as the 'beginning' or the 'end' of time. But, if we are semantically disturbed and objectify, then, of course, since objects have a beginning and an end, so also would 'time' have a 'beggining' and an 'end'. In such pathological fancies the universe must have a 'beginning in time' and so must have been made., and all of our old anthropomorphic and objectified mythologies follow, including the older theories of entropy in physics. But, if 'time' is only a human form of representation and not an object, the universe has no 'beginning in time' and no 'end in time'; in other words, the universe is 'time'-less. The moment we realize, feel permanently, and utilize these realizations and feelings that words are not things, then only do we acquire the semantic freedom to use different forms of representation. We can fit better their structure to the facts at hand, become better adjusted to these facts which are not words, and so evaluate properly m.o (multi-ordinal) realities, which evaluation is important for sanity.
An individual cannot be considered entirely sane if he is wholly ignorant of scientific method and structure of nature and so retains primitive semantic reactions.
An individual cannot be considered entirely sane of he is wholly ignorant of scientific method and structure of nature and so retains primitive semantic reactions.
Twenty percent of Americans describe themselves as “spiritual but not religious.” Although the claim seems to annoy believers and atheists equally, separating spirituality from religion is a perfectly reasonable thing to do. It is to assert two important truths simultaneously: Our world is dangerously riven by religious doctrines that all educated people should condemn, and yet there is more to understanding the human condition than science and secular culture generally admit. One purpose of this book is to give both these convictions intellectual and empirical support.Before going any further, I should address the animosity that many readers feel toward the term spiritual. Whenever I use the word, as in referring to meditation as a “spiritual practice,” I hear from fellow skeptics and atheists who think that I have committed a grievous error.The word spirit comes from the Latin spiritus, which is a translation of the Greek pneuma, meaning “breath.” Around the thirteenth century, the term became entangled with beliefs about immaterial souls, supernatural beings, ghosts, and so forth. It acquired other meanings as well: We speak of the spirit of a thing as its most essential principle or of certain volatile substances and liquors as spirits. Nevertheless, many nonbelievers now consider all things “spiritual” to be contaminated by medieval superstition.I do not share their semantic concerns.[1] Yes, to walk the aisles of any “spiritual” bookstore is to confront the yearning and credulity of our species by the yard, but there is no other term—apart from the even more problematic mystical or the more restrictive contemplative—with which to discuss the efforts people make, through meditation, psychedelics, or other means, to fully bring their minds into the present or to induce nonordinary states of consciousness. And no other word links this spectrum of experience to our ethical lives.
The method that is required is not one of correlation but of liberation. Even the term “method” must be reinterpreted and in fact wrenched out of its usual semantic field, for the emerging creativity in women is by no means a merely cerebral process. In order to understand the implications of this process it is necessary to grasp the fundamental fact that women have had the power of naming stolen from us. We have not been free to use our power to name ourselves, the world or God. The old naming was not the product of dialogue- a fact inadvertently admitted in the genesis story of Adam’s naming the animals and the women. Women are now realizing that the universal imposing of names by men has been false because partial. That is, inadequate words have been taken as adequate.
We are, all four of us, blood relatives, and we speak a kind of esoteric, family language, a sort of semantic geometry in which the shortest distance between any two points is a fullish circle.
As always when he worked with this much concentration he began to feel a sense of introverting pressure. There was no way out once he was in, no genuine rest, no one to talk to who was capable of understanding the complexity (simplicity) of the problem or the approaches to a tentative solution. There came a time in every prolonged effort when he had a moment of near panic, or "terror in a lonely place," the original semantic content of the word. The lonely place was his own mind. As a mathematician he was free from subjection to reality, free to impose his ideas and designs on his own test environment. The only valid standard for his work, its critical point (zero or infinity), was the beauty it possessed, the deft strength of his mathematical reasoning. THe work's ultimate value was simply what it revealed about the nature of his intellect. What was at stake, in effect, was his own principle of intelligence or individual consciousness; his identity, in short. This was the infalling trap, the source of art's private involvement with obsession and despair, neither more nor less than the artist's self-containment, a mental state that led to storms of overwork and extended stretches of depression, that brought on indifference to life and at times the need to regurgitate it, to seek the level of expelled matter. Of course, the sense at the end of a serious effort, if the end is reached successfully, is one of lyrical exhilaration. There is air to breathe and a place to stand. The work gradually reveals its attachment to the charged particles of other minds, men now historical, the rediscovered dead; to the main structure of mathematical thought; perhaps even to reality itself, the so-called sum of things. It is possible to stand in time's pinewood dust and admire one's own veronicas and pavanes.
The resulting texts always took a narrative term, enigmatic at first but ultimately explicit and often premonitory. The semantic distribution of these basic elements diverted them from their original meaning, thus revealing their real significance. Henceforth, every form of writing will consist of an operation of decoding, of contamination, and of sense perversion. All this because all language is essentially mystification, and everything is fiction.
[Metaphors] replace genuine uncertainty about the world with semantic ambiguity. A metaphor is a cover-up.
There's a scientific hypothesis that every person's name is a primary suggestive command that contains the entire script of their life in highly concentrated form. . . . According to this point of view, there is only a limited number of names, because society only needs a limited number of human types. Just a few models of worker and warrior ants, if I could put it like that. And everybody's psyche is preprogrammed at a basic level by the associative semantic fields that their first name and surname activate.
When I was first aware that I had been laid low by the disease, I felt a need, among other things, to register a strong protest against the word "depression." Depression, most people know, used to be termed "melancholia," a word which appears in English as the year 1303 and crops up more than once in Chaucer, who in his usage seemed to be aware of its pathological nuances. "Melancholia" would still appear to be a far more apt and evocative word for the blacker forms of the disorder, but it was usurped by a noun with a blank tonality and lacking any magisterial presence, used indifferently to describe an economic decline or a rut in the ground, a true wimp of a word for such a major illness.It may be that the scientist generally held responsible for its currency in modern times, a Johns Hopkins Medical School faculty member justly venerated -- the Swiss-born psychiatrist Adolf Meyer -- had a tin ear for the finer rhythms of English and therefore was unaware of the semantic damage he had inflicted for such a dreadful and raging disease. Nonetheless, for over seventy-five years the word has slithered innocuously through the language like a slug, leaving little trace of its intrinsic malevolence and preventing, by its insipidity, a general awareness of the horrible intensity of the disease when out of control.
Marketing effectively, in a semantic web, revolves around those three ‘little’ requirements: Trust, Authority, Reputation.
Perhaps it started as a whisper in some white wilderness ... ' Jaycee's voice.The pain and the consciousness flooded back as the semantic trigger threw off the protective blackout. The mongol's eyes widened, and a vicious thrust to the solar plexus made Bron scream with what little breath he still retained.' ... a broken body, cradled in cold, crying futility unto a futile wind.''Jaycee, for God's sake stop it! Let me go.' He made no attempt at subvocalizing. It was as much as he could do to form the words at all. She was playing with him, deliberately using the trigger to keep him conscious so that his awareness of the torment would continue. Again and again the blows fell savagely.' ... the mind mazed not by the searing steel, the nibbling nerve ... ''Jaycee, in the name of pity!' He no longer cared whether he lived or died. All he wanted was release from the scientific and merciless battering which his body was taking.' ... some maimed martyr, crazed upon the cross, held up his head and cried unto the heavens: LORD, WHY HAST THOU FORSAKEN ME?
From time immemorial, some men supposed to deal in one-valued 'eternal verities'. We called such men 'philosophers' or 'meta-physicians'. But they seldom realized that all their 'eternal verities' consisted only of words, and words which, for the most part, belonged to a primitive language, refleting in its structure the assumed structure of the world of remote antiquity. Besides, they did not realize that these 'eternal verities' last only so long as the human nervous system is not altered. Under the influence of these 'philosophers', two-valued 'logic', and the confusion of orders of abstractions, nearly all of us contracted a firmly rooted predilection for 'general' statements - 'universals', as they were called - which in most cases inherently involved the semantic one-valued conviction of validity for all 'time' to come.
There are several important remarks which can be made about this 'absolute emptiness' and 'absolute nothingness'. First of all, we now know, theoretically and empirically, that such a thing does not exist. There may be more or less of something, but never an unlimited 'perfect vacuum'. In the second place, our nervous make-up, being in accord with experience, is such that 'absolute emptiness' requires 'outside walls'. The question at once arises, is the world 'finite' or 'infinite'? If we say 'finite', it has to have outside walls, and then the question arises: What is 'behind the walls'? If we say it is 'infinite', the problem of the psychological 'walls' is not eliminated. and we still have the semantic need for walls, and then ask what is beyond the walls. So we see the such a world suspended in some sort of an 'absolute void' represents a nature against human nature, and so we had to invent something supernatural to account for such assumed nature against human nature. In the third place, and this remark is the most fundamental of all, because a symbol must stand for something to be a symbol at all, 'absolute nothingness' cannot be objective and cannot be symbolized at all. This ends the argument, as all we may say about it is neither true nor false, but non-sense. We can make noises, but say nothing about the external world. It is easy to see that 'absolute nothingness' is a label for a semantic disturbance, for verbal objectification, for a pathological state inside our skin, for a fancy, but not a symbol, for a something which has objective existence outside our skin.
Film does not replace language, for it cannot exist without it. Film displaces language, exposes the abyss that threatens to engulf every semantic signification. Film parasitizes language, much as the animal does, drawing into its imaginary panorama that which remains undisclosed in discursivity. Cinema is a parasite.
As a result of the work done by all these stratifying force in language, there are no "neutral" words and forms - words and forms that can belong to "no one"; language has been completely taken over, shot through with intentions and accents. For any individual consciousness living in it, language is not an abstract system of normative forms, but rather a concrete heteroglot conception of the world. All words have the "taste" of a profession, a genre, a tendency, a party, a particular work, a particular person, a generation, an age group, the day and hour. Each word tastes of the context and contexts in which it has lived it socially charged life; all words and forms are populated by intentions. Contextual overtones (generic, tendentious, individualistic) are inevitable in the word. As a living, socio-ideological concrete thing, as heteroglot opinion, language, for the individual consciousness, lies on the borderline between oneself and the other. The word in language is half someone else's. It becomes "one's own" only when the speaker populates it with his own intention, his own accent, when he appropriates the word, adapting it to his own semantic and expressive intention. Prior to this moment of appropriation, the word does not exist in a neutral and impersonal language (it is not, after all, out of a dictionary that the speaker gets his words!), but rather it exists in other people's mouths, in other people's contexts, serving other people's intentions: it is from there that one must take the word, and make it one's own. And not all words for just anyone submit equally easy to this appropriation, to this seizure and transformation into private property: many words stubbornly resist, others remain alien, sound foreign in the mouth of the one who appropriated them and who now speaks them; they cannot be assimilated into his context and fall out of it; it is as if they put themselves in quotation marks against the will of the speaker. Language is not a neutral medium that passes freely and easily into the private property of the speaker's intentions; it is populated - overpopulated - with the intentions of others. Expropriating it, forcing it to submit to one's own intentions and accents, is a difficult and complicated process.
Semantic search requires three things: Trust, Authority and Reputation. All three revolve around your digital profiles, their activity and the sentiment levels and engagement that each generates. Semantic search also requires differentiation – the ability of search to understand the “uniqueness” of you.
Storytelling began as a way for humans to relay information, from where to find food sources to the benefits of familial bonding, because fictional stories were the easiest way to memorize and communicate a complete set of information. We remember information best when it is delivered in the form of a plot, which is called 'semantic memory.' Stories still serve a definitive purpose and the stronger the purpose, the clearer the story.Fire Up Your Writing Brain
Getting even was the basis of many primate semantic confusions, such as"expropriating the expropriators," "an absolute crime demands an absolute penalty," "they did it to me so I can do it to them," and, in general, the emotional mathematics of "one plus one equals zero" (1 + 1 = 0).The primates were so dumb they didn't realize that one plus one equals two (1 + 1 = 2) and one murder plus one murder equals two murders, one crime plus one crime equals two crimes, etc.
But if we decide contextually specific questions of synonymy on the basis of the total semantic range of each word, any synonymy in any context is virtually impossible.
Having Simultanagnosia (object blindness), Prosopagnosia (face blindness) and Semantic Agnosia (meaning blindness) goes in my favour with regards to abstract art living in world full of fragmented pieces when I draw it is in real time no visual memory means no "pre-formatted" picture in my mind so I go where my hand takes it's like journey that is happening in the moment, hence why I drew these without my lenses on. When I was younger I would draw pictures by "route" which made it a appear that I had a visual memory (cobbling together things out of context and making a contextual image)
They become liberated spaces that can be occupied. A rich indetermination gives them, by means of a semantic rarefaction, the function of articulating a second, poetic geography on top of the geography of the literal, forbidden or permitted meaning. They insinuate other routes into the functionalist and historical order of movement. Walking follows them: 'I fill this great empty space with a beautiful name.
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