Performance of "Moritat von Mackie Messer (Mack the Knife)" from The Threepenny Opera by Kurt Weill and Bertolt Brecht. Appears on the album "Lotte Lenya Sings Kurt Weill's The Seven Deadly Sins and Berlin Theatre Songs. Originally released in 1955 by Sony BMG Entertainment.
This may be simply illustrated by a diagram, in which the three factors involved whenever any statement is made, or understood, are placed at the corners of the triangle, the relations which hold between them being represented by the sides. The point just made can be restated by saying that in this respect the base of the triangle is quite different in composition than either of the other sides.
Between a thought and a symbol, causal relations hold. When we speak, the symbolism we employ is caused partly by the reference we are making and partly by social and psychological factors–the purpose for which we are making the reference, the proposed effect of our symbols on other persons, and our own attitude. …
Between the Thought and the Reference there is also a relation; more or less direct (as when we think about or attend to a coloured surface we see), or indirect (as when we 'think of' or 'refer to' Napoleon), …
Between the symbol and the referent there is no relation other than the indirect one, which consists in its being used by someone to stand for a referent. Symbol and Referent, that is to say, are not connected directly (and when, for grammatical reasons, we imply such a relation, it will merely be imputed, as opposed to a real relation), but only indirectly round the two sides of the triangle.
he example of one of the best-known signed philosophical concepts, that of the Cartesian cogito, Descartes's I: a concept of self. This concept has three components—doubting, thinking, and being (although this does not mean that every concept must be triple). The complete statement of the concept qua multiplicity is "I think 'therefore' I am" or, more completely, "Myself who doubts, I think, I am, I am a thinking thing." According to Descartes the cogito is the always-renewed event of thought.
The concept condenses at the point I, which passes through all the components and in which I' (doubting), I" (thinking), and I"' (being) coincide. As intensive ordinates the components are arranged in zones of neighborhood or indiscernibility that produce passages from one to the other and constitute their inseparability. The first zone is between doubting and thinking (myself who doubts, I cannot doubt that I think), and the second is between thinking and being (in order to think it is necessary to be).
"Action mime shows us that everything a person does in their life can be reduced to two essential actions: ‘to pull’ and ‘to push’. We do nothing else! These actions include the passive ‘I am pulled’ and ‘I am pushed’ and the reflexive ‘I pull myself’ and ‘I push myself’ and can go in many different directions: forwards, to one side or the other, backwards, diagonally etc. I call this the effort rose.
It comprises a multi-directional space which can be adapted to all human movements, whether physical or psychological, whther a simple movement of the arm or an all-consuming passion, a movement of the head or a profound desire, everything brings us back to pull/push. …
Three main directions are contained within the effort rose: verticals, horizontals, diagonals. … These three movements refer to three different dramatic worlds. Horizontal 'pull/push' corresponds to 'you and me'. This is dialogue as found in commedia dell'arte or the clown routine. Vertical movement situates man between heaven and earth, between zenith and nadir, in a tragic event. Tragedy is always vertical: the gods are on Mount Olympus. Bouffons are also vertical, but in the other direction: their gods are underground. As for the diagonal, it is sentimental, lyrical, it flies off an we cannot tel where it will come down. This is the terrain of the broad emotions of melodrama."
By 1789, when Juan Baptiste Munier acquired trading rights with the Ponca, they had villages along the Niobrara River near its mouth, and ranged as far east as present-day Ponca, Nebraska, at the mouth of Aowa Creek. A smallpox epidemic had reduced their numbers from approximately 800 to 100 at the time of the Lewis and Clark Expedition in 1807.
Pictured here is the main mediation room at the Shambhala Center, which has dividers covering the space which displays a picture of Sakyong Mipham Rinpoche. The recording comes from one of the Center's open houses, which is overlaid with interviews with Center director Jessica Bizub and member Kirk Ferguson.