Taschenbuch. Gebraucht - Gut - Observations Plus Recipes It has been said that science is the orderly collection of facts about the natural world. Scientists, however, are wary of using the word 'fact. ' 'Fact' has the feeling of absoluteness and universality, whereas scientific observations are neither ab- lute nor universal. For example, 'children have 20 deciduous [baby] teeth' is an observation about the real world, but scientists would not call it a fact. Some children have fewer deciduous teeth, and some have more. Even those children who have exactly 20 deciduous teeth use the full set during only a part of their childhood. When they are babies and t- dlers, children have less than 20 visible teeth, and as they grow older, children begin to loose their deciduous teeth, which are then replaced by permanent teeth. 'Children have 20 deciduous [baby] teeth' is not even a complete scientific sta- ment. For one thing, the statement 'children have 20 deciduous teeth' does not tell us what we mean by 'teeth. ' When we say 'teeth,' do we mean only those that can seen be with the unaided eye, or do we also include the hidden, unerupted teeth An observation such as 'children have 20 deciduous teeth' is not a fact, and, by itself, it is not acceptable as a scientific statement until its terms are explained: scientifically, 'children have 20 deciduous teeth' must be accompanied by definitions and qualifiers. 224 pp. Englisch. Gebraucht. Artikel-Nr.: INF3002609994.
Genova: neos edizioni, 2002
4°, kartoniert. 186 Seiten, mit sehr zahlreichen, teils farb. Abbildungen, Illustrierter Originalkartonband in sehr gutem, ungenutztem Zustand. Namenszug auf Vorsatz, geschwärzt. Texte in italienischer und englischer Sprache. - I have nothing to say, and I'm saying it to you", said John Cage. Perhaps the most astounding thing about this statement was that it was even uttered (out loud and in public, 1 believe), which simply means that it was important for Cage to make it known that he had nothing to say. Why should one make it known that one has nothing to say? If someone has nothing to say, he/she should, in theory, be silent. The last Proposition in Wittgenstein's Tractatus Logico-Philosophicus is very well-known and frequently quoted by those who have not read the rest of the work: "Whereof one cannot speak, thereon one must be silent". But immediately afterwards he poses the problem: "How can it happen that someone has nothing to say about something?" But Wittgenstein goes further, declaring that if one cannot "speak" of something one must be silent. Does this mean it is a matter of "speaking" and not of "writing"? This might seem a rather specious question and it Gould lead us into some insignificant or — even worse — misleading "logical" rather than "philosophical" area, so it would be wiser to set it aside and pretend it hadn't been raised. It might be more interesting to concentrate on Propositions 6.731, 6.732 and 6.41 instead. It is well known that the Code number of each Proposition is so muck longer as the Proposition is less "atomic" — i.e., less remote from original primitiveness. Having observed that man has always laboured under the dominant Illusion that so-called "natural laws" provide an "explanation" for natural phenomena, he deduces that there cannot always exist a correspondence, a "mirror Image", between "atomic" facts and the affirmations of philosophy — i.e., knowledge and representation of the world. The statement Ihe meaning of the world must lie outside it" concludes the Proposition but it also contains the necessary statement that one cannot speak of that which cannot be known. Very mang scholars have observed the assonance with Gödel's thinking, particularly the "theorem" implying that in every formalised language, in every "general machine", there must exist at least one proposition that cannot prove itself. Obviously, such considerations appear far removed from everyday life and normal conversation. We have the habit of adopting and using a language, a system of communication that confirms — perhaps weakly but with encouraging and consoling consistency — that something can 'always' be said about something else. At most, when in difficulty, we accuse ourselves of "not finding the words" or "not knowing how to put it" or, more eloquently, "all'alta fantasia qui mancö possa.". The solution of blaming things on our stock of words when we encounter difficulty in speaking is like pouring a barrel of oil on stormy waters. It allows us to stay afloat for the time being and saue our lives but, immediately afterwards, the storm will come again and this time be more terrifying than before. Returning to Cage, perhaps others had also fett this curious, slightly embarrassing, slightly tedious, slightly amusing inability to say something about. something else. The space in which Cage expressed himself was not three-dimensional but the space of music or, rather, sound. The ancient question of the "ineffability" of music and its dangerous relationship to Inner representation", complicated by the supreme crisis of the syntactic systems of expression and writing, directed Cage towards the sound of "silence", . (Introduction) Sprache: Deutsch Gewicht in Gramm: 1100. Sehr gut. Artikel-Nr.: 4076.
Buch. Pappband. Wood, Jasper (1921-2002), American civil rights activist, photographer and writer. - The letters are addressed to the American writer and editor (Carrefour Press) Michael Fraenkel (1896-1957), in the 1930s in Paris a close friend and furtherer of Henry Miller ("Boris" in Miller's "Tropic of Cancer" is modeled after him). - At the time when these letters were written young Jasper Wood made his first literary steps and was about to make a name of himself as a photographer. He was highly attracted by Fraenkel's concept of the spiritual death suffered by materialist Western man, as laid down in Fraenkel's books "Werther's Younger Brother" (1930), "Bastard Death (1936)" and "Death Is Not Enough"(1939) - a spiritual death to be overcome by the return to human love, which Wood refers to as "religiousness". - - 1) July 19, (1947). After their first meeting (in Fraenkel's home in New York) Wood writes he had been going "through a horrible Werther period" due to his "working in the commercial world" - "My photography has become my only creative outfit for the time being - and I have even sold some of it . - - Our talk and the presence reveales how deeply you are motivated by this religiousness within your mind!!! With Miller its in his guts!!! And with Patchen its deep in his soul ." Joyce, Picasso, and Freud were realizing this need for religiousness to a degree, yet "they were men of action - not men of love - and they went deep into the Bastard Death, which is the same as Lawrences Masturbative Man ." - - 2) No date (1947). Lengthily discussing his book project "The Voice of the Apocalypse" in which he wishes to present (together with prospective co-authors like Fraenkel) "the general history of Apocalyptic writing", naming Celine, Henry Miller, Kenneth Patchen, Dylan Thomas and others. - "Is Giono an apocalyptic voice, or is he a pastoralist . - - Did I tell you Bastard Death was the only book in English in Otto Rank's library when he died? Well it was, a signed copy ." - - 3) (September 26, 1947). Again on the book project, and on Miller. ". Am enclosing a letter from Miller's wife that speaks for itself. As a man he seems about through - and as a writer just beginning. But for a man like Miller to have a wife say no - that's too much. He likes Lawrence - but remember how Lawrence hated the possessiveness of the word 'wife'. And when she refers to him as 'Henry Miller' it's too much. It sounds too much like God. Patchen and Miller create the same response - you don't - and therein lies your inviolate fineness . - - Don't ever let what has happened to Miller in America happen to you. If it starts - well, go away again . And keep your manhood. I need Miller in the book though - can you get him to cooperate, do you think? . - - Oh, that Miller, he knew the need of destroying the artist in the man in his heart and soul and guts and then becomes more and more artist and less and less man. It's horrible - and if he knows what is going on . it must hurt like hell. He needs someone like you now more than ever before ." - - 4) June 24 (1951). Typewritten letter on post-war Europe. ". I can well imagine that you found Europe today not for people like us . The blood is stale, and I believe that Lawrence would at long last give up on his loved Italy. The final straw is to read that a bunch of homosexuals are living in Lawrence's old home there. They are seemingly supported by Caresse Crosby - said group includes Pearl Kazin, Truman Capote, etc. . Tennessee Williams . has also stayed with this group. Death-stayed dead, that's the only word for it. Then . those rather horrible long, exhausingly drawnout notebooks of Andre Gide. This to me seems to paint the inner exhaustion of that part of the world today ." Subsequently discussing Pound and Céline - the latter "may become a saint . Because through what appeared to be attacks upon the Jews he became the Jew through the world's attacks upon him. . Artikel-Nr.: 46714.
Barnhill, Jura, Argyllshire, 26. VIII. 1947., 1947
4to. 2½ pp. on 2 ff. Highly important autobiographical statement, composed on the Isle of Jura while writing "1984", and but a week after narrowly escaping drowning in the notorious Corryvreckan Whirlpool. The three-page-letter to the editor Richard Usborne was written to furnish him with a sketch of his life and thought, in response to his enquiry: "[.] After leaving school I served five years in the Imperial Police in Burma, but the job was totally unsuited to me and I resigned [.] I am a widower with a son aged a little over 3 [.] I [have] started a novel which I hope to finish by the spring of 1948. I am trying not to do anything else while I get on with this [.] I mean to spend the winter in Jura this year, partly because I never seem to get any continuous work done in London, partly because I think it will be a little easier to keep warm here [.]". Orwell, of course, had a greater struggle to finish '1984' than he here anticipates, being admitted to hospital early in 1948, after only the first draft was ready, and further ruining his health in a race against time to finish the book. It was finally published on 8 June 1949, seven months before his death. - The longest part of this remarkable letter is devoted to the development of those political beliefs that inform and inspired his opus magnum: "[.] As to politics, I was only intermittently interested in the subject until about 1935, though I think I can say I was always more or less 'left.' In 'Wigan Pier' I first tried to thrash out my ideas. I felt, as I still do, that there are huge deficiencies in the whole conception of Socialism, and I was still wondering there was any other way out. After having a fairly good look at British industrialism at its worst, ie. in the mining areas, I came to the conclusion that it is a duty to work for Socialism even if one is not emotionally drawn to it, because the continuance of the present conditions is simply not tolerable, and no solution except some kind of collectivism is viable, because that is what the mass of people want. About the same time I became infected with a horror of totalitarianism, which indeed I already had in the form of hostility towards the Catholic Church. I fought for six months (1936-7) in Spain on the side of Government, and had the misfortune to be mixed up in the internal struggle on the Government side, which left me with the conviction that there is not much to choose between Communism and Fascism, though for various reasons I would choose Communism if there were no other choice open. I have been vaguely associated with Trotskyists and Anarchists, and more closely with the left wing of the Labour Party (the Bevan-Foot end of it) [.] But I have never belonged to a political party, and I believe that even politically I am more valuable if I record what I believe to be true and refuse to toe a party line [.]". Usborne was at the time assistant editor to Macdonald Hastings at The Strand, and was to go on to write two classic studies, "Clubland Heroes" (1953) and "Wodehouse at Work" (1961), as well as completing Wodehouse's last novel, "Sunset at Blandings" (1977). This milieu, that Usborne was to make his own, held its fascination for Orwell as well, as exemplified by his essays on "Boys' Weeklies" (1939) and "In Defence of P. G. Wodehouse" (1945). John Rodden, in his review of Peter Davison's important 2010 collection of Orwell's correspondence (cf. below) which first included this letter, writes that "Orwell [here] furnishes a thousand-word summary regarding the evolution of his thinking on the warring ideologies of the day. Most important is his remark that 'there is not much to choose between Communism and Fascism.' Despite Orwell's status as the leading literary Cold Warrior of the West, critics and historians have not claimed that Orwell viewed communism as an evil equivalent to Nazism and fascism - not even his conservative or neoconservative admirers. Thus the statement to Richard Usborne represen. Artikel-Nr.: 32261.