Philosophy Now Forum

One may observe two extremes, lets say emotion for the sake of simplicity.

Joy and Despair effectively are relativistic duals of the other.

Joy, as an emotion, may be directed towards despair and despair may be directed towards joy. We observe these emotions effectively directed, one towards the other, due to the inherent movement within them as a form of change. This direction of one towards the other effectively acts as a boundary in itself where the median, as what exists between two extremes, effectively exists as a limit with this limit existing as directed movement.

Now, where we may observe this relativistic aspect of one extreme being projected towards the other under a 1 directional limit, which is linear in the respect it is synonymous to time as the form of change considering the directed of one emotion to another exists through time, when viewing both extremes directed towards eachother simultanously it may be observed they are inherently connected through the limit itself which is interdimensional (ie a means of simultaneously projection both ways).

As connected, these extremes effectively as "one", observe this meaning as an approximation of unity where this boundary acts as a negative dimension which seperates "the one" into two extremes of joy and despair with this "one" effectively existing through itself as itself as evidence by these extremes directing themselves towards themselves through the opposite.

In these respects meaning acts as a unifier and seperator where meaning itself is a limit of both a postitive and negative nature. One of unity and one of seperation where meaning effectively is "limit" in itself reflective of a geometric origin in both form and function.

paper writers
One may observe two extremes, lets say emotion for the sake of simplicity.

Joy and Despair effectively are relativistic duals of the other.

Joy, as an emotion, may be directed towards despair and despair may be directed towards joy. We observe these emotions effectively directed, one towards the other, due to the inherent movement within them as a form of change. This direction of one towards the other effectively acts as a boundary in itself where the median, as what exists between two extremes, effectively exists as a limit with this limit existing as directed movement.

Now, where we may observe this relativistic aspect of one extreme being projected towards the other under a 1 directional limit, which is linear in the respect it is synonymous to time as the form of change considering the directed of one emotion to another exists through time, when viewing both extremes directed towards eachother simultanously it may be observed they are inherently connected through the limit itself which is interdimensional (ie a means of simultaneously projection both ways).

As connected, these extremes effectively as "one", observe this meaning as an approximation of unity where this boundary acts as a negative dimension which seperates "the one" into two extremes of joy and despair with this "one" effectively existing through itself as itself as evidence by these extremes directing themselves towards themselves through the opposite.

In these respects meaning acts as a unifier and seperator where meaning itself is a limit of both a postitive and negative nature. One of unity and one of seperation where meaning effectively is "limit" in itself reflective of a geometric origin in both form and function.

An interesting observation about the extremes phenomenon.
I've been working on the research analyzing variations and emotional space of the literary (fictional) characters and there was pretty much to compare between the emotional space of people and that of supernatural creatures (like vampires, werewolves, etc.). Analyzing mono-segmental figurations in the text, the bulk is occupied by the non-verbal expression (for werewolves, of course). And there was an ambiguous case of the optical-kinesthetic symptoms expressed in the behavior of werewolves and human beings.
Trying to go deeper with the interpolation and verifying meaning through the opposite.

PrfromTexas wrote: ↑Wed Nov 07, 2018 12:05 pm

paper writers
One may observe two extremes, lets say emotion for the sake of simplicity.

Joy and Despair effectively are relativistic duals of the other.

Joy, as an emotion, may be directed towards despair and despair may be directed towards joy. We observe these emotions effectively directed, one towards the other, due to the inherent movement within them as a form of change. This direction of one towards the other effectively acts as a boundary in itself where the median, as what exists between two extremes, effectively exists as a limit with this limit existing as directed movement.

Now, where we may observe this relativistic aspect of one extreme being projected towards the other under a 1 directional limit, which is linear in the respect it is synonymous to time as the form of change considering the directed of one emotion to another exists through time, when viewing both extremes directed towards eachother simultanously it may be observed they are inherently connected through the limit itself which is interdimensional (ie a means of simultaneously projection both ways).

As connected, these extremes effectively as "one", observe this meaning as an approximation of unity where this boundary acts as a negative dimension which seperates "the one" into two extremes of joy and despair with this "one" effectively existing through itself as itself as evidence by these extremes directing themselves towards themselves through the opposite.

In these respects meaning acts as a unifier and seperator where meaning itself is a limit of both a postitive and negative nature. One of unity and one of seperation where meaning effectively is "limit" in itself reflective of a geometric origin in both form and function.

An interesting observation about the extremes phenomenon.
I've been working on the research analyzing variations and emotional space of the literary (fictional) characters and there was pretty much to compare between the emotional space of people and that of supernatural creatures (like vampires, werewolves, etc.). Analyzing mono-segmental figurations in the text, the bulk is occupied by the non-verbal expression (for werewolves, of course). And there was an ambiguous case of the optical-kinesthetic symptoms expressed in the behavior of werewolves and human beings.
Trying to go deeper with the interpolation and verifying meaning through the opposite.

If meaning occurs where one extreme is verified through the other extreme:

1) Extremity necessitates a form of division premised in a dualism or even number of qualities as effectively opposing. This implies a prior, future, or unobserved current connection in the resulting extremes.

2) This continual opposition at a rate of infinity necessitates the extremes existing as one medial source in the respect they become directed through eachother as eachother. Simultaneously as an extension of one medial source they are an approximation of this unity through multiplicity.

****This rate of infinity is premised in the measuring standards being used as finiteness is a relation of parts with the relation of parts (as evidenced by the simple lines on a ruler or degrees of a compass or clock) existin as finite. This finite quality of the degree, as a foundation for measurement, is dependent on the line as an infinite quality in itself where any finite nature to the line is strictly the line relative to itself causing an infinite continuum.

3. The extreme is a projected extradimensional movement going away from the source. In projecting away from the source it returns to it, hence observes a cycle. For example Joy is directed away from itself as despair with this despair returning to its origins of joy. In these respects each extreme is also a boundary of movement that divides the other extreme.

Because of the directed moving qualities of extremes, we are left with a spatial foundation offshoot from Euclidean and non euclidian axioms where all phenomenon exist as directed movement with these directed movements being spatial limits.

PrfromTexas wrote: ↑Wed Nov 07, 2018 12:05 pmI've been working on the research analyzing variations and emotional space of the literary (fictional) characters and there was pretty much to compare between the emotional space of people and that of supernatural creatures (like vampires, werewolves, etc.). Analyzing mono-segmental figurations in the text, the bulk is occupied by the non-verbal expression (for werewolves, of course). And there was an ambiguous case of the optical-kinesthetic symptoms expressed in the behavior of werewolves and human beings.
Trying to go deeper with the interpolation and verifying meaning through the opposite.

Wow. A case study on fictional characteristic of fictional characters.

I would have thought that each fiction-writer has a different take, and there are also genre writers and literary fiction writers, all of which produce a widely divergent chunk of studiables.

Do you pick your writers, or do you assign their work to yourself randomly?

One may also think that archetypes' manifestations exist via fictional fantasy, at the same time that writers copy from each other, and that writers by-and-large reach consensus on character specifications over time as if through a folk-tale tradition: vampires can be killed with silver bullets only, werewolves stay away from garlic, witches fly on broomsticks. But there may be psychological, kineto-communcative and bullfecal-producting nightmares also coming out of too much of that type of literature.

At any rate, good luck with further funding.

-1- wrote: ↑Wed Nov 21, 2018 6:42 pm

PrfromTexas wrote: ↑Wed Nov 07, 2018 12:05 pmI've been working on the research analyzing variations and emotional space of the literary (fictional) characters and there was pretty much to compare between the emotional space of people and that of supernatural creatures (like vampires, werewolves, etc.). Analyzing mono-segmental figurations in the text, the bulk is occupied by the non-verbal expression (for werewolves, of course). And there was an ambiguous case of the optical-kinesthetic symptoms expressed in the behavior of werewolves and human beings.
Trying to go deeper with the interpolation and verifying meaning through the opposite.

Wow. A case study on fictional characteristic of fictional characters.

I would have thought that each fiction-writer has a different take, and there are also genre writers and literary fiction writers, all of which produce a widely divergent chunk of studiables.

Do you pick your writers, or do you assign their work to yourself randomly?

One may also think that archetypes' manifestations exist via fictional fantasy, at the same time that writers copy from each other, and that writers by-and-large reach consensus on character specifications over time as if through a folk-tale tradition: vampires can be killed with silver bullets only, werewolves stay away from garlic, witches fly on broomsticks. But there may be psychological, kineto-communcative and bullfecal-producting nightmares also coming out of too much of that type of literature.

At any rate, good luck with further funding.

Aww someone is angry because some else succeeded in their field and they did not...well it is the holidays a time for celebration for some and regret for others.

This can be used as an example of how emotions are projected. "Whats his name" is angry, he directs the anger towards the proffessor away from its origins to a new one. This anger in turn is cycled back by eod and directed back to its source.

The nature of emotion as directed movement is not limited strictly to just individuals but between individuals as well.

Thanks for the example "1", can always count on you being angry and bitter, perfect fit for the thread.

Eodnhoj7 wrote: ↑Tue Oct 23, 2018 5:31 pm One may observe two extremes, lets say emotion for the sake of simplicity.

Joy and Despair effectively are relativistic duals of the other.

Beating around the bushes as usual.

The etymological origin or emotion;

Origin of emotion
1570–80; apparently < Middle French esmotion, derived on the model of movoir: motion, from esmovoir to set in motion, move the feelings < Vulgar Latin *exmovēre, for Latin ēmovēre; see e-1, move, motion.
https://www.dictionary.com/browse/emotion

Thus the fundamental purpose of emotions are to direct/trigger movements [not directed movements] towards survival, procreation and avoiding premature death driven by instincts or regulated by meanings/concepts.
Meanings enable impulses and movements to be regulated/modulated meaningfully.

Veritas Aequitas wrote: ↑Thu Nov 22, 2018 5:14 am

Eodnhoj7 wrote: ↑Tue Oct 23, 2018 5:31 pm One may observe two extremes, lets say emotion for the sake of simplicity.

Joy and Despair effectively are relativistic duals of the other.

Beating around the bushes as usual.

The etymological origin or emotion;

Origin of emotion
1570–80; apparently < Middle French esmotion, derived on the model of movoir: motion, from esmovoir to set in motion, move the feelings < Vulgar Latin *exmovēre, for Latin ēmovēre; see e-1, move, motion.
https://www.dictionary.com/browse/emotion

Thus the fundamental purpose of emotions are to direct/trigger movements [not directed movements] towards survival, procreation and avoiding premature death driven by instincts or regulated by meanings/concepts.
Meanings enable impulses and movements to be regulated/modulated meaningfully.

And emotions themselves are both movement and form, within further movement and form and a recursion occurs. The emotion as that which directs and moves in itself is directed and moved by further emotions.

Eodnhoj7 wrote: ↑Fri Nov 23, 2018 6:27 pm

Veritas Aequitas wrote: ↑Thu Nov 22, 2018 5:14 am

Eodnhoj7 wrote: ↑Tue Oct 23, 2018 5:31 pm One may observe two extremes, lets say emotion for the sake of simplicity.

Joy and Despair effectively are relativistic duals of the other.

Beating around the bushes as usual.

The etymological origin or emotion;

Origin of emotion
1570–80; apparently < Middle French esmotion, derived on the model of movoir: motion, from esmovoir to set in motion, move the feelings < Vulgar Latin *exmovēre, for Latin ēmovēre; see e-1, move, motion.
https://www.dictionary.com/browse/emotion

Thus the fundamental purpose of emotions are to direct/trigger movements [not directed movements] towards survival, procreation and avoiding premature death driven by instincts or regulated by meanings/concepts.
Meanings enable impulses and movements to be regulated/modulated meaningfully.

And emotions themselves are both movement and form, within further movement and form and a recursion occurs. The emotion as that which directs and moves in itself is directed and moved by further emotions.

True but that is beside the fundamental point.

Veritas Aequitas wrote: ↑Sat Nov 24, 2018 3:16 am

Eodnhoj7 wrote: ↑Fri Nov 23, 2018 6:27 pm

Veritas Aequitas wrote: ↑Thu Nov 22, 2018 5:14 am
Beating around the bushes as usual.

The etymological origin or emotion;


Thus the fundamental purpose of emotions are to direct/trigger movements [not directed movements] towards survival, procreation and avoiding premature death driven by instincts or regulated by meanings/concepts.
Meanings enable impulses and movements to be regulated/modulated meaningfully.

And emotions themselves are both movement and form, within further movement and form and a recursion occurs. The emotion as that which directs and moves in itself is directed and moved by further emotions.

True but that is beside the fundamental point.

The fundamental point of origin is directed movement as a constant which manifests through all facets of being.

Eodnhoj7 wrote: ↑Sat Nov 24, 2018 7:05 pm

Veritas Aequitas wrote: ↑Sat Nov 24, 2018 3:16 am

Eodnhoj7 wrote: ↑Fri Nov 23, 2018 6:27 pm

And emotions themselves are both movement and form, within further movement and form and a recursion occurs. The emotion as that which directs and moves in itself is directed and moved by further emotions.

True but that is beside the fundamental point.

The fundamental point of origin is directed movement as a constant which manifests through all facets of being.

If that is your argument, why then everything is movement but not all movements are 'directed'.
Emotions involved movements X but trigger movements Y.
Emotions are not directed, as in;

• Direct
  verb
  1. control the operations of; manage or govern.
  "an economic elite directed the nation's affairs"
  synonyms: administer, manage, run, control, govern, conduct, handle; More
  
  2.aim (something) in a particular direction or at a particular person.
  "heating ducts to direct warm air to rear-seat passengers"
  synonyms: aim, point, level; More

Veritas Aequitas wrote: ↑Sun Nov 25, 2018 2:08 am

Eodnhoj7 wrote: ↑Sat Nov 24, 2018 7:05 pm

Veritas Aequitas wrote: ↑Sat Nov 24, 2018 3:16 am
True but that is beside the fundamental point.

The fundamental point of origin is directed movement as a constant which manifests through all facets of being.

If that is your argument, why then everything is movement but not all movements are 'directed'.
Emotions involved movements X but trigger movements Y.
Emotions are not directed, as in;

• Direct
  verb
  1. control the operations of; manage or govern.
  "an economic elite directed the nation's affairs"
  synonyms: administer, manage, run, control, govern, conduct, handle; More
  
  2.aim (something) in a particular direction or at a particular person.
  "heating ducts to direct warm air to rear-seat passengers"
  synonyms: aim, point, level; More

Yeah you put up the word "direct", then in the definition it says "aim" and requires the noun form of "direct" as "direction" to define it. Circularity is a form of definition, but a contradiction according to you.

This has been addressed already in the metaphysics of language thread.