Does dog really exist?
Has anyone ever gone mad not being able to think of something to think about?…There is something much deeper in operation here than a simple, albeit innovative mastery of logic and mathematical reasoning. These are verbal argument sketches with their own symbolic coding embedded into the logic and semantics. It is clearly the impossibility of a linear or progressive mode of organizing of ideas. Its been regarded as a “demon” that haunts rule formation and the assumptions underlying numerology and geometry, lending credence to interpretations of ancient codes- Da Vinci, Van Eyck- which have been lost in translation and the passage of time as well as to the Antonin Artaud conception of language.
image: http://grundlegung.wordpress.com/2009/10/09/bad-habits-the-philosopher-as-concept-monger/ Read More: http://simplycharly.com/wittgenstein/jaakko_hintikka_interview.php ---Wittgenstein the philosophical writer becomes much easier to understand when one realizes that he wrote like a dyslexic. The possible influence of dyslexia on his philosophy is a subtle question. The main case in point is probably Wittgenstein’s thinking about rules. A dyslexic person often finds it difficult to recognize explicit rules even when he or she is following them. This heightened Wittgenstein’s awareness of the problem as to how it is that an expressed rule guides us when we follow it.---
…Of the wealth of observations and details she offered let me here mention just one that I find, in the present context, very pertinent. Drawing, she said, was for Wittgenstein “a means of communication. Von Wright provides an example of this in telling that in his Charlottenburg days Ludwig Wittgenstein had a friend with whom he ‘conversed’ by means of drawing pictures.”Jaakko Hintikka’s paper “Ludwig Wittgenstein: The Bewitched Writer” constituted a brilliant survey of Wittgenstein’s philosophy, demonstrating that many of its central ideas were indeed attempts to cope with the dyslexia condition. There exists an earlier, unpublished version of this paper, entitled “Ludwig Wittgenstein – A Case Study in Dyslexia”. In what follows, I am quoting from this version. Dyslexia, that is, as Hintikka puts it, the “slow, impaired recovery of the phonetics and semantics of written text from visual clues”, is a “cognitive challenge” which “forces a dyslexic person to look upon language and linguistic skills in a way we usually do not do”. Hintikka points out that: “In the same way … a dyslexic has difficulties in keeping in mind the meaning of a sentence because of the need of concentrating on particular words, [so also] a dyslexic finds it hard or even personally impossible to keep track of an argument or other similar line of thought or at least articulate it verbally.” Certainly Wittgenstein was unable to maintain, and, as Hintikka stresses, indeed programmatically denied the possibility of, “a linear or progressive mode of organization of his ideas”. Much of Wittgenstein’s “actual philosophical thought can be viewed”, Hintikka writes, “as a series of attempts to understand his own handicaps and to overcome them or as attempts to articulate and to generalize philosophically his experiences as a dyslexic”. Read More:http://hunfi.hu/nyiri/nyiri_bergen_tlk.htm
Read More: http://www.dsq-sds.org/article/view/1268/1298 --- It worked for Rauschenberg. That combination, along with his likely different way of thinking allowed Rauschenberg to change the course of painting in Western art. This may explain why he shifted his approach to painting before others did. There is evidence that he saw art quite differently than did some of his teachers who had achieved greatness in their own right. He was, however, fortunate to find an environment which accepted his way of thinking and views on art and performance. He was an important part of the Black Mountain community at a key time in his own development as an artist. His colleagues, John Cage, Merce Cunningham, and David Tudor, provided support and opportunity for him to realize his ideas in art, music, and dance while at Black Mountain. His associations with peers like Cy Twombly and later Jasper Johns and more experienced artists like Willem deKooning and Jack Tworkov in New York also served as support for his development as an artist. The synthesis of challenge, structure, and support all came together for Rauschenberg at a critical time in his life.---
There was once a dyslexic philosopher who reputedly went mad trying not to think about a dog…. impact dyslexia had on it. Mattison observed the artist at work in the studio, and the discussions he had there with him about the Rauschenberg’s creative process focused on his novel way of seeing things and the advantage he gained from some of the visual differences he experienced as an artist with dyslexia. These included his taking advantage of “seeing things in fragments” and selective attention.
---Despite all this work, the topic of consciousness per se in animals has remained controversial, even taboo, among scientists, even while it remains a matter of common sense to most people that many other animals do have conscious experiences.--- Read More:http://plato.stanford.edu/entries/consciousness-animal/
…Sometimes fish leapt out of the water and fell back with a splash. My companions talked about past boattrips and fishing. I listened to their voices while the water of the bay lazily drifted by. Padraic knew the names of many birds we saw: blue and white herons, swallows, pipers. He told the story of the dyslexic, insomniac philosopher, who is up all night wondering if DOG really exists. Read More:http://www.dolphinclub.org/sacrow.html
image: http://top-people.starmedia.com/art/robert-rauschenberg_17214.html Read More: http://www.dsq-sds.org/article/view/1268/1298 ---He constantly looked for new combinations that would keep him on the cutting edge of the art world for several years. One of his innovations, "the combine", resulted from piecing found objects together, or extending paintings by adding found objects, thereby pushing the effect beyond collage. Or he would paint on three dimensional assemblies. These "combines" were only one example of his willingness to extend the limits of art.---
Rauschenberg describes his own dyslexia as a difficulty with language, both reading and writing, as well as reversals Since dyslexia and its overall effect on an individual impacts more than the ability to use language, it likely contributed to the shape of Rauschenberg’s personality and his life as a creative individual. His neur
ical make up and the differences in his visual processing system perhaps caused him to see and value objects in the world around him in unique ways. These differences may have allowed him to see the possibilities of incorporating the objects of his every day life into his art. Read More:http://www.dsq-sds.org/article/view/1268/1298
ADDENDUM:
Rauschenberg’s life exemplifies the possibility of taking the innate difficulties that come with dyslexia and turning them to advantages. His tendency to have a broad focus and to see things in a different way perhaps allowed him to incorporate new elements into his artistic work, accounting for his genius and success. His association with the teachers who guided him in a structured way in the process of acquiring the skills he needed, while supporting him and his new ideas during an inventive and imaginative period of his life as an artist, provided the framework necessary for his success in the art world.
Read More: http://www.huffingtonpost.com/lisa-paul-streitfeld/revolution-in-the-avanteg_b_868378.html---On an entirely different level, and do not be surprised! -- the pinups constitute the contents of unaccounted mass-graves of executed Jewish women of World War Two. Their physical sensuality, their feminine gigantism, their pure anger masquerading as ecstasy in their twitching orgiastic faces, is nothing but a cover-up then for sublime affirmation, of anti-death procreation, of pure though hysterical, death frightened, pre-execution protestation. -- Boris Luie, SELECTED PINUPS, 1947-1973---
Rather than working within the existing trends in the art world, Rauschenberg chose to break out of existing formats, probably because it felt right to him at the time. In part because he had always in a sense been ‘living outside the box,” it may have been easier for him to “think outside of the box” of the art world or even redefine it. Only an artist who would connect things and concepts that artists would not usually connect would find himself working as Rauschenberg did in the space between life and art.
Although there is no direct evidence of a link between dyslexia and creativity, there is anecdotal evidence that would encourage further exploration of a possible relationship between the two. If individuals with dyslexia are supported in the learning of appropriate technical and academic skills, the differences in their visual and auditory processing experience may serve to contribute to finding new and different kinds of solutions to problems and resolutions to creative challenges. Read More:http://www.dsq-sds.org/article/view/1268/1298
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The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last
Slouches towards Bethlehem to be born? (Yeats 18-22)
Through the eyes of a logical empiricist, the above lines would make almost no sense, and would certainly not have the relational and symbolic value that the poem holds for me. Take, for example, the last line. If language were reorganized into a system of direct relational recall, “slouches” would most likely refer to a “lazy” or “sloppy” body posture. “Born” would refer to the direct process of birth and ejection from the uterine cavity. Obviously, this is not what most readers have in mind when perusing the poem, and presumably it is not what Yeats intended. The extensions of meaning which make this poem so powerful and so imaginatively conceivable would be impossible drawing words out to envelop other objects would not be an option for logical empiricists.Read More:http://www.duke.edu/~pk10/language/intro.htm
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The Ba`al Shem Tov told the following story: Once a fiddler played so sweetly that all who heard him began to dance, and whoever came near enough to hear, joined in the dance. Then a deaf man, who knew nothing of music, happened along, and to him all he saw seemed the action of madmen—senseless and in bad taste. [So also with the behavior of the hasidim and other people infused with the divine spirit—they appear mad.]…
Marc Chagall, The Fiddler, 1912-1913 http://en.wikipedia.org/wiki/File:Image-Chagall_Fiddler.jpg
…One of the Ba`al Shem’s disciples once asked him: “How shall I make my living in the world?” “You shall be a cantor.” “But I can’t even sing!” “I shall bind you to the world of [heavenly] music,” said the Zaddik. This man became a singer without peer, and far and wide they called him the cantor of the Ba`al Shem Tov. This cantor once reported how the master never recited a verse until he had seen the angel of this verse and heard his special strain. He told of the hours in which the soul of the master rose to Heaven, while his body remained behind as if dead, and that there his soul spoke with whomever it would, with Moses and with the Messiah, and asked and was answered. He told that the master could speak to each creature on earth in its own language and to every heavenly being in its own language. He told that, the moment the master saw an implement, he at once knew the character of the man who had made it, and what he had thought about, while making it. Read More:http://www.enlightened-spirituality.org/Rabbi_Israel_ben_Eliezer.html
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