by Max Barry

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Colour

A Problem of Philosophy


In Palmaism, colours are the supreme light of illumination and reflection by the eternal divine Nature that human art and artifice imitates (emulates and simulates). The research of science demonstrates humans view colour, not the spectral frequency of electromagnetic radiation, from the illumination as complements, not opponents. The Pyrrhonist sceptic (methodic and empiric, not dogmatic) philosopher Sextus proposed that colour is a quality of the subject, not the object, in psychics as a conception via perception. Their existence in physics or as a fiction (illusion of imagination) in representative human cognition. With symbolic value, colour in human cultures, literatures, sculptures, pictures, textures, tinctures and figures is more than an evolutionary product of selective pressure. Colour can be represented as a chromatic circle of tonality (tone, tint, or shade). In the depiction of (subtractive) pigment that reflect light and whose mixtures absorb light, yellow, red and blue are primary colours that produce secondary colours of orange, purple and green when mixed (conjoined and combined). The primary colours of (additive) light perceived by the human eye are red, blue, and green (RGB).

The human eye is trichromatic with independent triple channels of colour photoreceptors (responsive or sensitive conical cells, compared to the cells in the form of a baton for vision and reception in base levels of luminosity) in the retina to detect visual pigments by short, medium, and long frequencies. Colours are conceived in the incorporated mind and are connected by emotion to sense or sentiment. In the aesthetics and poetics of Vedic Hinduism, rasa is the static "nectar" in a raga from the bhava (state of mind) as a combination of determinants and consequents. The synthesis, not analysis, of the "bipolar humours" corresponds to the action of creation from the transfigured or transformed passion in the art of artists with their conditions, limitations and functions. The rasa, as the impression from the expression, is an activity of integration, not a passivity of differentiation, in implication (neither explication nor discrimination of distance and difference) and creative reflection (contemplation and meditation). It is distinct from the qualia of phenomenal experience and epiphenomenal conscience. It represents a dialectic of multiplicity, combining to a purity (e.g., unity, not a unitary essence).

Organisation

The poet Goethe argued that yellow and blue represented the opposition of luminosity (a presence) and obscurity (an absence) with red (e.g., ochre, which is symbolic of sanguine blood and similar to the banner of the indigenous aboriginal Australians of vital solar origin as a Linkcontinuous population of territory with a phenotypic hair of curls, or pepuah in Malay, and hide of swart pigment and with a genotypic, genomic and genetic divergence in the evolution of modern humans of which the totality of humanity is collegiate) as the aesthetic intermediate. This inspired Wittgenstein's remarks on the language (logic) of colour where it is neither a phenomenon (with a phenomenal aspect of the real) nor a noumenon (with a noumenal aspect of the real). The experiential (with an empiric experimentum crucis where the subjective sense becomes objective perception instead of the inferential) and rational impasse of metaphysics of epistemic philosophy resolved with a conflict of a reality of the idea (a spiritual Geist or "ghost" proposed by Hegel) and a reality of the will (a representative image where cognition exists simply as an object in relation to a subject as proposed by Schopenhauer). Young, who demonstrated the illumination with RGB colour created white light (not solely the totality of the spectrum, which is a continuum, not a quantum, of apparitions and gradations with decomposition by refraction, inflection, and reflection), and Hermann von Helmholtz proposed the trichromatic photoreceptors in retinal, neural and visual optics. Maxwell supported it with linear combination in algebraic mathematics. Goethe's influential "fard lore" proposed (in a criticism of Newton, who proposed corpuscular particles in comparison to an undulatory and oscillatory manifestation in physics proposed by Young, Fresnel and Huygens) an antagonistic process of opposition (polar contrast) by responsive channels. His circle of colours (by observation and allegoric, symbolic and mystic interpretation) is Linksymmetric and homogenous, not asymmetric and heterogeneous (compare to principal and modal intervals of music). Similar to metaphoric ebony and ivory, this system positions yellow as a complement to purple (e.g., violet, lavender, lilac, hyacinth and iris).

The International Commission on Illumination defines a colourspace model as the reference norm of chromaticity (colour specification or representation irrespective of luminance). The RGB colourspace, channels of colour is represented a 28 or 256 possible values of an octet in decimal or hexadecimal per primary colour dimension of the model space in additive tripartite combination of red, green and blue that coincides as white. The subtractive tetrachromatic colour model of cyan, magenta, yellow and value pigment tint is superior with print publication. Compare this systematic schema to the harmonic octave of music in audition, which is the the binary logarithm of the relation of two frequencies. As a tercet, it can be represented by the pollex, index and digit of the manual palm. A non-linear transfer function encodes and decodes relative luminance (of a stimulus normalised by a reference). The corrected Vc is the corrected value (electric potential, which is proportional to intensity, not luminous intensity) that is proportionally related to the source Vsγ where gamma

    γ = d log10(Vc) / d log10(Vs)

with d as the derivative operator. It is referred to compression when γ < 1 and expansion when γ > 1. It corrects the "bright (hell)" and the "obscure (dust)" values.

The visual and graphic value of brilliance (related as the subjective impression of the objective and relative luminance, or luminous intensity per area that is analogous to radiance and spectral radiance) is the arithmetic mean of the RGB values (channels, elements, constituents, components, attributes or coordinates) as a three-dimensional rectangular and planar cube that is transformed to an axial (vertical or normal) angular and circular cylinder in a geometric derivation and representation of luminosity, tone and saturation. It may be relative (not absolute) for the subject to pure white or an illuminated (coloured) object (reference point). The International Commission on Illumination colourspace approximates human vision. Its L* model parameter represents the perceptual and ocular response of the luminosity as a nonlinear function of the luma (relative luminance from 0 to 100). The position between red and green opponents (a*, where negative values indicate green and positive values indicate red) and the position between yellow and blue opponents (b*, where negative values indicate blue and positive values indicate yellow) are represented as coordinates. This system is derived from the normalisation of the response (responsivity or sensitivity) of the three types of ocular conical cells at the wavelengths of light and colour. It is an example of chromatic valence or value space.

A different model converts tone as an angle in degrees (in the cylindrical polar coordinate system, which is related to the spherical coordinate system by its radial analogue of the Cartesian coordinate system) to a* and b* respectively by the cosine and sine functions with chroma (chrominance, with its amplitude or magnitude the relative saturation and its phase or angle the tone, is the the chromatic distinction of achromatic luminance) as a scaling factor. Another system is based on the phenomenology of human perception and the qualia of colour. Its perceptual colour model defines relative visual and perceptual similarity to the swart colour (s, a quantity of obscurity), to the intensity of colour (c, saturation and chromaticity), and to two chromatic colours (the percentage between red opposite of green or blue opposite of yellow). The relative visual and perceptual similarity to the white colour w is equal to 100 − cs. The use of geometry and clear colour are fundamental to the modern design of Alpen Style.

Link
Eventail du Poète by surrealist Victor Brauner

Pigments

One of the most famous colours is LinkInternational Klein Blue (IKB). In 11660 HE, the Federal Institute of Intellectual Property (Bundesinstitut für Geistiges Eigentum, Institut fédéral de la propriété intellectuelle, Istituto federale della proprietà intellettuale) in Alpenburg granted Yves Klein a patent for an ultramarine (similar to the pigment produced in Ioudaia and to the natural powder of lapis lazuli) colour, his IKB. The patent was for the chemical process used to manufacture the colour. An artist notable for his 11662 HE monochromatic painting LinkIKB 191, Klein had been trying to capture a tone of blue (similar to that by Jacques Majorelle) that would embody the abstract aspects of tangible and visible nature, combining the earth and the heavens and the seas, all to invoke Link"the endless void of space" thus capturing the entire experience. With the colour, Klein created art works that had both organic and inorganic forms, and unique textures. Klein was a member of the Nouveau réalisme ("New Realism" or "Neorealism") popular art style, a successor of Dada and the predecessor to New Wave. Dada, its name conveying innocent and naïf (the masculine form of the feminine naïve, ingenuous or credulous) absurdity and a response to Cubism, utilised collage, assemblage and montage. Surrealism, with its unconscious and fantastic "super-reality" (surreal) of metaphysical pictures, was another inheritor of Dada. Inspired by higher-dimensional mathematics (e.g., hyperspace, hypersurface, and the hypercube of n hyper-dimensions), Cubism radically pursued the conquest of visualising concepts of the fourth-dimensional space. Neorealism in visual art, literature and cinema was characterised by: (1) social realism with a definite social context; (2) existential themes of the individual and absurdity; (3) documentary and objective instead of a subjective view of ordinary persons and mundane life; (4) narrative embracing of poetic, allegoric and visual images; (5) historic authenticity, actuality and ambiguity.

The principal modern synthetic pigment is a blue product that is an oxidation of ferrous ferrocyanide salts (named by a colleague of von Humboldt). With cobalt aluminate intermediate, it was a substitute of lapis lazuli and the blues of Egypt (calcium copper silicate) and China (barium copper silicate), which were similarly esteemed and valued. The silica of Chalcedon or Khalkedon (jaspis, iaspis, yašp, which is distinct from gasbar, gaspar, caspar and kaspar for "treasurer [of a treasury, regal repository of tribute and value], material and medicinal mage" respectively from the Median, Sogdian, Parthian and Persian ga(n)zbar(a) via the Hebrew gizbar that is related to γᾰ́ζᾰ or gáza for "treasure" and its φῠ́λᾰξ or phúlax, but distinct from the ganja of cannabis, from the Greek θησαυρός or thēsaurós via Latin thesaurus, and from μάγος or mágos) is noted in antiquity as a gem. Copper, with silver and gold, are noble metals, which includes platinum (from Spanish plata or plato from a vulgar Latin word borrowed and adopted from πλᾰτῠ́ς or platús for "plat(e)" that substituted argento from argentum for "argent, silver" as a cognate of Portuguese and Galician prato, and the Italian piatto) and others in its group rhodium ("rose"), palladium (Παλλάς or Pallás, epithet of Athena whose cult image as the palladion defended the imperium of Rome after Aeneas brings it from Troy, i.e. Anatolian Troia or Ilium across the Aegean Sea), and iridium ("iris") with catalytic properties. Noble metals are dissolvable by aqua regia ("regal water", a mixture of hydrochloric acid and nitric acid, which dissociate into a proton, i.e. a positive hydrogen ion, and an anion, i.e. a conjugate base). These metals do not possess ferrous magnetic properties. Of these metals (material and chemical elements, not metallic ligations, liaisons or alloys), gold (which is the most malleable) is the most Linkductile. The yellow of gold (aurum and or) in colour models is placed in primary–secondary complementary pair with purple (where the secondary colour is a combination of the other two primary colours with tertiary colours) as a conjugation of amicitia.

Flamboyant magenta (similar to ruby, vermillion and crimson) is a synthetic and organic pigment that is a chemical precursor to woad (indigo) and is named for a city in Italian Lombardia, itself from the genitive of Maxentius or the name of a rival of the Roman emperor Constantine in reference to the textiles of the Berber tribes (قَبِيلَة‎ or qabīla) named Igawawen and Izwawen (the plural of Agawaw and Azwaw, who were described in a history by Ibn Khaldun). An alternative identification of the colour includes one derived for a floral bloom of the Rose Sea recognising a botanist with the German name of Fuchs ("fox"). A synthetic organic pigment similar to mauve was discovered in the process of an industrial attempt to create quinine (from quina or kina, which contains an antimalarial or antipalustral alkaloid that is mixed with carbonated saccharine water and alcoholic 'liquor spirit' with aromatic juniper) from aniline (a woad pigment itself from the tar of coal gas and coke that was fabricated by chemical and factorial industries of sodium carbonate, i.e. alkali soda from the Arabic سُوَيْدَاء or suwaydāʾ for "wort and coral of the saline sea", which is used with the salt of potassium nitrate and is neutralised with nitric acid to produce sodium nitrate). Originally from Mediterranean Geno(v)a (with the same etymology of Geneva) and Nîmes (from the Celtic nem for "heaven, welkin, nebula, obscure sky"), the durable textile of diagonal cotton serge is tinted with the botanical blue colour pigment (tint) of woad (German: Waid, Italian: guado, indaco; Spanish: añil, índico; Catalan: anyil, indi; Portuguese and Galician: anil, índigo; French: guède; Dutch: wede) from India.

The Iberian names for this azure blue colour originate from the definite Arabic النِيل‎ or an-nīl, itself from the Persian نیل or nil that originates from the Sanskrit nila. The lilac flower, whose scientific name is from the Greek σῦρῐγξ or sûrinx for "syringe" (syrinx used in medicine for an injection, enema or clyster to the hypodermis, which is subcutaneous with the epidermis and cutaneous dermis or cutis), calamus pen, pastoral flute of Pan" (cf. salpinx and phorminx for the lute of "barbitos, kithara, lyra"), is from the Arabic لِيلَك or līlak that is related to the Persian and Sanskrit name for the colour of this pigment. Oleaginous like fragrant jasmine (Arabic يَاسَمِين or yāsamīn and Persian یاسمن or yâsaman), it is colloquially confused with the distinct elder and its berry (sambuca, flie(de)r, vlie(de)r, hol(un)der, holler, eller, which are separate from aller, alis, elis for "alder"). A floral lilac or officinal (medicinal and pharmaceutic) galega (from Hellenic γᾰ́λᾰ or gála for lactic juice or mammiferous milk and ᾰ̓́γω or ágō for "to act, draw, guide, carry, conduct, gender" as a herbal galactagogue or galactogenic plant, not the Arabic حَلْقَة or ḥalqa and حَلَقَة or ḥalaqa for "circle") that is related to fabaceous lucerne induces diuresis and reduces the production of glucose production by the jecorine liver by augmenting the sensitivity of insulin. Diabetes mellitus (named for melleous honey, which contains sweet glucose and fruit sugar) is caused by either the pancreas not producing sufficient insulin (a metabolic hormone) in an autoimmune response or the resistance of cells to insulin. Insulin can cause hypoglycaemia (insufficient glucose in the blood). The types of this disorder (characterised by hyperglycaemia or excessive glucose concentration, which is correlated to the ferrous or ferric protein haemoglobin) are treated with alimentary diet and physical activity to reduce mass and augment exercise. It augments osmotic pressure of the urine and inhibits renal reabsorption of water, which results in polyuria or diuresis (urine fluid production). The osmotic reduction of blood volume causes dehydration and polydipsia. Intracellular glucose insufficiency results in augmentation of appetite and polyphagia.

Philosophy

The cult of reason lauds the principle of sapere aude (audaciously be a sage). It was articulated by Horace in oratory epistles and Immanuel Kant in an essay on "illumination". Kant—who lauded Frederick the Great—distinguishes an autonomous person from an heteronomous person (i.e., with immature intelligence). He classifies private reason of faculty and public reason of dialogue (the discourse of conversation and discussion in human affairs). Foucault alters (disputes in introduction and conclusion) the argument to decide that the intellectual (existential, personal and individual) attitude applies reason to experience. Kant distinguished analytic and synthetic propositions with conceptions of a predicate contained and not contained in its subject. By analogy, he distinguished a priori and a posteriori propositions with the justification of the affirmations dependent and not dependent on experience. These are either logically necessary or logically contingent. He diverges from the empiricism of Hume and the rationalism of Leibniz by asserting that experience (and comprehension in epistemology) depends on the perception (intuition) of objects (phenomena, plural of phenomenon with their quantity as quanta, the plural of quantum) and the synthesis (not analysis) of representation in his transcendental idealism (the base of the metaphysics of Schopenhauer).

The optimism of Leibniz was criticised in the Enlightenment (an illumination connected to the method of the scientist Francis Bacon and the Discourse on the Method by René Descartes with its cogito, ergo sum) by Voltaire with Candide and Pangloss in a satiric novel influenced by the format of Jonathan Swift and Les aventures de Télémaque, fils d'Ulysse by François de Salignac de la Mothe-Fénelon (an influence of Rousseau). The theodicy of Leibniz was characterised by Emil Heinrich du Bois-Reymond as God, a divine mathematician, resolving a problem in the calculus of variations and determining the perfect optimum (cf. optima as the analogy to the extrema of minima and maxima, or the plural extremum of minimum and maximum) of functions in infinite possible universes (worlds). This discoverer of the impulsive depolarisation of action potential of nerves (who was a friend of von Helmholtz) articulated the "world riddles" (Welträthsel) of physical (natural) matter and force, the origin of motion, abiogenesis, teleology of the order of Nature, the origin of qualia (plural of quale as quality) of the conscience, the relation of the mind and the corpse with intelligence and cognition, and liberal volition, some of which he proclaimed as transcendent or ignoramus et ignorabimus (or diluted to dubitemus). Schopenhauer instead asserted a pessimism because to be worse (the comparative of evil, with the superlative of worst similar to better and best for good) the universe would not exist.

The illuminated study of an epistemic critic is an "experiment with the possibility of going beyond" imposed limits. This philosophy is typified the "freethinker" (a term conferred by George Berkeley to Janus Junius "John" Toland Seán Ó Tuathaláin, a Spinozist, pantheist and republican biograph of Milton) with their desire to consider (inspect, suspect and expect). The decisions and relations of autonomy possess a dependence (not the independence, separation, alienation or autarky of animal beasts) in the polis. The criminalisation of autonomy is discussed by Silvia Federici, a feminist and Marxist Autonomist, in her other possibility to the Ursprung (original or primitive) accumulation of Marx in Das Kapital. This expropriation of property from opera (e.g., from domestic and reproductive service such as sexual prostitution) depends on the exploitation of nominally free others. Federici argues that it is not a precursor (as a precondition), but posits it requires an infusion of appropriated capital to perpetuate its function and institutions. She uses Caliban (a barbarous savage, as a monster and human named in Romani by Shakespeare) and Circe (a fabulous witch of insular Aeaea and the Odyssey) as schematic "names" and allegoric "letters" (i.e., icons, images, figures, sculptures, pictures, literatures, idols or symbols). The discussion of alienation (Entfremdung or "anfremding") by Marx, in an influence of Hegel and Ludwig Feuerbach (whose ideology of humanity was criticised by Stirner), characterised the autonomous individual person being directed (e.g., forced and coerced) by industrial affairs and capital exploits as products of commodity and utility in economics (i.e., modern politics).

Sartre in the essay, The Imaginary (L'Imaginaire), discuses the symbolic schemes and pensive illustrations in la vie psychique. He contends that the World is constituted of the intentionality and spontaneity of images as structure in the nature of the human mind. The fundamental act of the subject (the conscience) posits its object as non-being (a nothingness) into being. The illusion of immanence attributes emotion to the imaginary and irreal (not real) concept, which is absent and nonexistent (not present), as if it were real (in contrast to merely and solely possible). This image of the imagination by the conscience is a process of conception and impression, the internal correspondent analgon or analogue (cf. the equivalent homologon or homologue) of the percept of external perception and expression. The phenomenology of Sartre connects this quasi-observation to a liberal existence of ontology. The possibility of imagination relates to the virtual (where virtuality simultaneously is reality without actuality and ideality without possibility) and a epiphenomenal being. Ideas, as phantastic (virtual) concepts and notions, are distributions that depend on nomadic, empiric, mystic and mathematic simulacra. These are not universal categories, and are neither hic et nunc nor nulle part as "the diversity to which categories apply in representation". Ideas, as multiplicities (neither pluralities nor unities), are intermediates organisations to the abstract and acts.

In his "transcendental empiricism", Deleuze states in LinkDifférence et répétition that they are "a form of eternally positive differential multiplicity, distinguished from the identity of concepts" where difference and repetition are prior. Repetition, as a series and difference without at concept, is contrasted with generality (as cyclic correspondence, equivalence equalities of events in an opposite of unique speciality). Difference is affirmative of being in its organic schema, reciprocal relations and elemental composite, with the negative epiphenomenal. Deleuze asserts that complementary (re)semblances and dimensions of identity and similarity, and analogy and opposition subordinates difference. The model image—in the education and instruction of conduct—supposes faculties of rational (principal) expectation (categoric, methodic and systemic modes of affine cogitatio natura universalis and harmonious concordia facultatum in dogmatic, but not pragmatic, doxa), proposition (affirmation and assertion as an designation and denomination by symbolic signs and signals), negation (error of the possibilities), (re)cognition, (re)presentation, (re)solution and result (culture as paideia, humanitas as civilisation) as functional postulates, coordinates and products (forces and processes) of desire. The reconciliation (the communication of transformation and information) of locations, connections and successions of actions and passions in an open opportunity (fortuitous, if not fortunate, hazard of fatal chance as mobile and portable extremes of determination in the present interval, which contains the past and the future, with spatial intensive qualities independent of quantity in contrast to extensive properties of a phenomenon) that constitute autonomous individuation is a reformulation of Palmaist philosophy. It consists of the passive habit (with receptive percepts of objective experience as a substantial collection or a sum of contractions, retentions and expectations) and the active memory (with the subjective virtual, like fatal destiny, that is not concerned of chronologic contiguity and temporal continuity).

The conscience and conscious existence of the ego has been elucidated by a Gedankenexperiment ("thought experiment", as named in Latin-German by Hans Christian Oersted and similar to the Hellenic δείκνῡμῐ or deíknūmi) of Avicenna. He illustrates a reflection and recognition of the ego and being by the auto-conscience (in animal and spiritual existence) is acting upon mental images as intelligible and conceivable forms of the cognitive (intellectual and conceptual) faculties of intellect to illustrate a distinction or separation from the corporal senses as the sensual and perceptual contents for sensible and perceptible forms in a retraction the external and internal organs of a "Floating Man" (as examined by LinkAhmed Alwishah). This influenced the investigation of isolation by Abubacer Abentofail in Andalusia. Other thought experiments include Section 293 of Wittgenstein's Philosophical Investigations the with respect to the sensation of pain with the private and public language for a diminutive "bite" and insect ("chafer, scarab") by analogy. The nature of reality thought as an illusion in the philosophy of maya, the Allegory of the Cave, the Dream of the Butterfly (an insect like a licker or thief of the fruit of milk, or floral nectar that attracts pollinators like the flittermouse, bee for melleous honey, and hummingbird or whirr, snore and snar fowl), and the philosophic meditations of Descartes.

The supreme, potent and callid genius (daemon) of Descartes proved to be influential in physics with Laplace (in a determinism of position and momenta, the plural of momentum, that is not compatible with entropy and irreversibility) and Maxwell (as an finite being, named by Thomson, that controls a door between two chambers of gas by altering permeability to change kinetic temperature by the selection of velocity in a violation of Carnot's caloric theorem, which Leó Szilard Spitz and Léon Brillouin connected to Linkinformation. The duality of Descartes with its animal passions (emotion) and mental actions (volition) as a separate determinant (cause) of the corporal actions (motion) in matter was criticised by Gilbert Scott Ryle as a habitual illusion. A philosopher of ordinary language influenced by Wittgenstein, He asserts that, in the philosophy of mind, Cartesian dualism is a dogma of the ghost in the machine in a "category-mistake" or a confusion of a phenomenon. Physical dispositions translate by explication into observable modes of conduct not as intellectual acts (rational and operational processes of cognisance, conscience, cognition and conception) but propensions. He makes the distinction in memory of the procedural ("knowing-how" or the method) and the factual ("knowing-that" or the declaration and contemplation of propositions). He posits the subject of philosophy as analogous to cartography with its implication (transformation) of objects (habitants).

Sense

The contamination and relation of cognitive planes is a metaphoric abstraction. Synaesthesia refers to simultaneous stimulation of senses (percepts; cf. images or concepts) in chromatic congruence of ideas, tones, voices, letters and numbers similar to concurrent colours with phonic unities (phonemes) and graphic unities (graphemes). It is not forced (neither deliberate nor feint in artifice). A result of the connectivity of neural circuits, it is associated with "mad" genius inspired by the Muses. The disconnection from norms and regulations is common to the social (categorical) extremes of madness and genius, where the creative Linkfaculty of these artists and scientists to explore (experiment, inquire, and investigate) ideas, hypotheses or constructs is unrestricted (i.e., they "think differently"). Nietzsche, in Human, All Too Human: A Book for Free Spirits, distinguishes the obscurant obfuscation and obstruction of existence from that of the individual comprehension of ideas in scepticism (i.e., the antithesis, or the contrary opposite and contrast, of dogmatism). He discusses the genius of the freigeist (a prototypical Übermensch) and, in a pessimistic (not optimistic) interpretation of the Pandora myth of the poet Hesiod in Érga kaì Hēmérai (Ἔργα καὶ Ἡμέραι, which mentions the Hellenic mythology of Prometheus), identifies the deceptive expectation of hope (elpis or ἐλπίς) to be the most evil (the opposite of the idea of good) because it prolongs torment and torture. Schopenhauer argued that this esperance is a confusion of desire perturbs (disturbs) "the intellect's correct appreciation of probability".

In the principal volume on the ideas of volition and representation, Schopenhauer argues that the mind searches for refuge in "madness" (a substitution of sensus communis with sensus privatus) from mental suffering as a "strategic flight" and redemptive mechanism (cf. the investigation and discussion of dysfunction by Justin Garson of New York with inspiration from the Richard Gipps of Oxford, a philosopher of Wittgenstein, science, medicine, biology, ecology, psychology and psychiatry). Hobbes equated cognition to the variations of conative functions such that emotion is the origin of motion whilst volition, as the representation or manifestation of imagination or conatus (impetus in the impulse of force as a preservation similar to inertia of physics and the Linkconservation of momentum), is the sum of emotions. Spinoza formulated conatus to relate to existence, essence, persistence and resistance in the conduct of effective or active motion and affective or passive emotion. The perfection of the human mind (nous), as a finite mode of the infinite intellect with this capacity and faculty of desire (as a perseverance and an ignorance of causes), is formulated as moderation of laetitia (propension) and tristitia (aversion), which are perceived from an external object and are conceived from an internal subject. The Wille zum Leben ("will to live") of Schopenhauer and Wille zur Macht ("will to might") of Nietzsche developed from this idea (vital principle) of organisms and Nature (which is deterministic and non-directive, as argued by Spinoza).

The perception of things (objects) is a reflection of what they offer as the virtue of their good and service or as the opportunity of their utility from action. It is a complementarity of the animal and the ambient, the act and the percept. The exchange between the internal space of the animal and the external space of the ambient is transposable. The beauty of this symmetry is that the action of the animal becomes the perception of the ambient, and the perception of the animal becomes the action of the ambient. The self, as an incorporation of the mind in body, is incorporated in the world. The cognitive processes of the mind depend upon the situation of the body. Human cognition (conception with its institutions of ideas, society, culture, practices and theories) harmonises conditions present in the ambient reality. Cognition originates from the dynamic action and relation between an animal organism and its ambient. These cognitive systems participate in the external generation of the significance in the sense of internal impression (the transformation, representation, construction, organisation, or conception of information). Experience of reality results from the mutual interaction between the capacities of the animal and the ambient. The mind, body, and experience are interconnected as one entity. The eyes and hand are also organs of cognition. A being, in a form of cognition, realises self-cognisance (i.e., the recognition of sentience or a conscious existence) in its experience and corporature (incorporation, incarnation, and personification) in the world. An existential being (self) is able to generate a model of their physical capacities of actions from observations of their intentions, which is extendable as a reflection (mirror) to inferences about their comprehensions of others.

The voyant human mind naturally assembles (integrates) aesthetic sense in extrapolation and interpolation. For example, motive dance as motion combines with the rhythm of sound. Much of art is juxtaposition, if not contraposition (e.g., counterpoise). The idiosyncratic poet "Rainer" René Karl Wilhelm Johann Josef Maria LinkRilke—an Austrian (Bohemian) who was a friend of the "young style" painter Oskar Zwintscher of "new" Saxe and who was influenced by the Link"ephemerality and mutability" of "becoming" discussed by Nietzsche—is noted for his convolution of aural and visual senses and his compositions of animal vibration (e.g., scintillation and oscillation) in void and vacuous ("leer" and "lithy") material space. One of his poems in Das Buch der Bilder (German for The Book of Statues), composed in a phase of his deals and hours, is a simile of comparison from his fascination and admiration of the aquatic water from Roman fountains.

    Out of unendly [infinite] Sehnsüchten sty [ascend]
    endly [finite] deeds like swack fountains,
    themselves [descend in] tidy and tittering inclines.
    And yet, they are otherwise silent,
    Our frolicking craft [force]—teach
    themselves in these dancing tears.

He disposes the Stille ("still") as dynamic and the Ruhe ("roo") as energetic. He uses Dionysian language in his poem of a Apollonian statue in a complementary unity of dialectic dichotomy. The desire for fusion and union with some alternative ideal (not actual) self is connected to the myth of Eros and the Kugelmenschen of Aristophanes in the Symposium. In the latter, human men—the sexes of the terrestrial feminine genitals, the solar masculine genitals and the lunar androgynous ambiguity—were separated by a penal fissure when they aspired to celestial divinity. The research for their other sides recapitulates the erotic Sehnsucht that, in its dolorous, yet desirous, infirmity, is similar to nostalgic Saudade. In this way, it and joy are distinct from aesthetic pleasure and beauty.

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