Idiot

The spread of willful ignorance seems to be spreading and is not isolated to high end specialized subjects. Uninformed opinion can become self destructive when embraced over logic and then passed around as fact. The internet and social media sites spread false information like herpes in the form of poor written memes and people bravely wear their ignorance as badges of honor on bumper stickers on their car. The average person seems to be in a rush to embrace the stupid and hell bent on an irrational and anti-science path.

IS THAT HUMANS ARE THE CENTER OF AND MANIFEST THE ENTIRE MULTIVERSE

YA GOTTA LAUGH – HERE WE HAVE THE CREATOR GODS OF THE ENTIRE MULTIVERSE, WHO EVEN COLLECTIVELY ARE DUMBER THAN A BOX OF ROCKS.
OR
PHENOMENALLY CHIVALROUS – WELL IT’S BOTH.

Nietzsche ends the section 30 of The Antichrist with the following statement, which reinforces the thesis that the evangel of Jesus is the result of a morbid hyperexcitability and a will to pleasure proper of weakness: “– The fear of pain, even of infinitely minute pain – that can end in no other way than in a religion of love...” To understand this sentence, it is necessary to turn to the posthumous fragment 14 [130] of spring of 1888, in which Nietzsche did a sketch of an attempt of a demonstration of this argument.

Ce court travail constitue une tentative d'articuler la notion de libre-examen avec la proposition de l'écologie des pratiques d'Isabelle Stengers qu'elle détaille dans son ouvrage "La Vierge et le neutrino : les scientifiques dans la tourmente". Ce travail se construit sur une description du système développé par Isabelle Stengers et le rapport au libre examen est "en construction" au fil des pages, non pas exposé dans un après-coup.

Cosa spinge una persona a
esibirsi in una figura di merda monumentale? Che fine ha fatto il timore di avere torto, di
essere sbugiardati in pubblico? Perché lo scemo del villaggio ora è sindaco? Cercando una risposta,
ho capito che è una questione ampia e ha che fare con i social, la cultura e la società. Partiamo
dall'aspetto più conosciuto.

... Lucky for you, Joe Steiff has done an incredible, exhaustive job of breaking down a seemingly daunting process into easily digestible morsels of information and ... Soak up the information Joe has shared with you. ... Phillip J. Bartell Phillip J. Bartell, once a student of Josef Steiffs, is ...

Die Filmkunst Andrej Tarkowskijs wird am ehesten durch sein Bildmotiv gekennzeichnet. Nach Tarkowskij manifestiert sich im filmischen Bild die "Beobachtung von Lebensfakten, die in der Zeit angesiedelt sind, die entsprechend den Formen des Lebens selbst und dessen Zeitgesetzen organisiert werden." Die Filmkunst ist demnach eine Bildhauerei aus Zeit. In der vorliegenden Abhandlung werden die wahrnehmungstheoretischen und historischen Grundlagen der verschiedenen Bildmotive bei Tarkowskij, dargestellt in den Filmen Andrej Rubljow, Solaris, Spiegel, Stalker, Nostalghia und Opfer, untersucht. Dabei handelt es sich um einen Versuch, zu veranschaulichen, wie das filmische Bild - als Gegenwarts- und Geschichtsbilder sowie als Erinnerungs- und Traumbilder - sich zu eigener zeitlicher und räumlicher Existenz entfaltet, und folglich der Wirklichkeit und seiner erzählerischen Kontinuität gegenüber Grenzen zieht. Die Untersuchung zielt auch darauf ab, die filmtechnische Eigenart der Bildmotive bei Tarkowskij, wie Zeitlupe, Überwindung der Trägheit sowie das Schweben bzw. die Überwindung der Gravitation, zu erörtern, und ihre epistemologischen und ästhetischen Implikationen zu deuten.

Speaking to the debate on the nature of critique, this article is about the struggle to produce an account when listening to and retelling stories. It begins with the disconcertment over listening to a coherent story that emerges in interviews about the development of performance indicators for Dutch hospital care. The indicators are presented as solutions to the problem of unruliness in the healthcare world. Drawing on Helen Verran's work on generative critique I slow down the ‘problem-solution-found’ plot. Instead of contrasting the apparently coherent stories with the complexities of an ‘underlying’ practice of healthcare, I hold on to my initial disconcertment so that ‘fleetingly subtle’ interruptions become entry points for generative critique. Taking Eduardo Viveiros de Castro's understanding of the relation that fear and laughter have to alterity, I show how fear and laughter permit generative critique within seemingly coherent stories. In the case of indicator development, the interviewees ‘laugh away’ what they consider alter from quality and safety in healthcare: having no control over what is going on, polyglotism instead of a common language, and inaction as opposed to taking one's time. Paying attention to disconcerting interruptions generates sensitivity and questions rather than yet another set of (critical) problem-solution-found answers. How can ridiculed (laughed away) subjectivity be acknowledged as important entry points for including alterity in supervision? And how to position the acknowledgement, not as an antidote, but as a way of rendering the fear of alterity generative? Nurturing sensitivities is crucial for keeping open, which means resisting both the sticky tendency of normalizing accounts and the fallacy of misplaced concreteness. I conclude that keeping open by re-imagining critique resonates with the creativity of collective life in actual times and places. Thereby it offers a promising potential for doing worlds differently.