evolution and rupert sheldrake

Rupert Sheldrake Online
Morfogenetica, memory and adultery.
Why don't i know the time and place when adultery is commited when morfogenetic fields exist?
what about orthogenetic fields.
darwins misconception: the struggle for the fittest misconception
if darwinisme is a misconception, then it is the fittest one.
but will it win in nature?
or: if everything is competition then darwinism is also.
why did god create darwin?
de mens is de enigste soort die zich kan indenken een andere soort te zijn, is dit geest of geestelijk evolutie van geestelijke soorten?
the only way to know if darwins theory is wrong is by finding a (prehistoric) species that shouldn't fit in the line of descent and is never noticed before as odd.
Or gene-manipulaion.
or to pay for behaviour
how do animals adapt to humans (because we do not only kill them for food, as they do expect)
hoe kan 'doen alsof je iemand wil' een evolutionair voordeel zijn?
en hoe wordt (het beste) orgasme evolutionair doorgegeven?
monkey with 4 hands?
de mens als erosie voor de natuur
welk dier verdreef de dinosuariers (na 60 miljoen jaar)? geen, want die 'overwinnaars' kwamen pas na de meteoor
misschien is evolutie een strijd tussen leven en weten?
Why isn't a pigeon made for supersonic speed or under ground flying?
or why hadn't humans the ability to plug thier ears closed
man is the only beast that can act as if nature doesn't exist (and is to be fooled by consience)
dolphin sounds
what is democracy when people want a sick person to stay in power?
chinese supremacy for cultural advantage by acoustic brain deficit pag 163
meaning that they can't lose their abilty to write what they hear (because they write ideograms and not phonetic signs).
lactose (milk) deficiency outside europeans
waarom vind er geen herseninhoud overdracht plaats vlak voor de geboorte zou dat evolutionair niet voordeliger zijn?

I'm not ugly, just asthetically challenged.

A Philosophical Inquiry into the Origin of Our Ideas of
The Sublime and Beautiful
With Several Other Additions

Burke, Edmund. 1909 14. On the Sublime and Beautiful. Vol. 24, Part 2. The Harvard Classics

contents:

CONTENTS
Bibliographic Record
NEW YORK: P.F. COLLIER & SON COMPANY, 1909–14
NEW YORK: BARTLEBY.COM, 2001


Introductory Note

Part I.
Novelty
Pain and Pleasure
The Difference Between the Removal of Pain, and Positive Pleasure
Of Delight and Pleasure as Opposed to Each Other
Joy and Grief
Of the Passions Which Belong to Self-Preservation
Of the Sublime
Of the Passions Which Belong to Society
The Final Cause of the Difference Between the Passions Belonging to Self-Preservation and Those Which Regard the Society of the Sexes
Of Beauty
Society and Solitude
Sympathy, Imitation, and Ambition
Sympathy
The Effects of Sympathy in the Distresses of Others
Of the Effects of Tragedy
Imitation
Ambition
The Recapitulation
The Conclusion

Part II.
Of the Passion Caused by the Sublime
Terror
Obscurity
Of the Difference Between Clearness and Obscurity with Regard to the Passions
The Same Subject Continued
Power
Privation
Vastness
Infinity
Succession and Uniformity
Magnitude in Building
Infinity in Pleasing Objects
Difficulty
Magnificence
Light
Light in Building
Colour Considered as Productive of the Sublime
Sound and Loudness
Suddenness
Intermitting
The Cries of Animals
Smell and Taste. Bitters and Stenches
Feeling. Pain

Part III.
Of Beauty
Proportion not the Cause of Beauty in Vegetables
Proportion not the Cause of Beauty in Animals
Proportion not the Cause of Beauty in the Human Species
Proportion Further Considered
Fitness not the Cause of Beauty
The Real Effects of Fitness
The Recapitulation
Perfection not the Cause of Beauty
How Far the Idea of Beauty May be Applied to the Qualities of the Mind
How Far the Idea of Beauty May be Applied to Virtue
The Real Cause of Beauty
Beautiful Objects Small
Smoothness
Gradual Variation
Delicacy
Beauty in Colour
Recapitulation
The Physiognomy
The Eye
Ugliness
Grace
Elegance and Speciousness
The Beautiful in Feeling
The Beautiful in Sounds
Taste and Smell
The Sublime and Beautiful Compared

Part IV.
Of the Efficient Cause of the Sublime and Beautiful
Association
Cause of Pain and Fear
Continued
How the Sublime is Produced
How Pain Can be a Cause of Delight
Exercise Necessary for the Finer Organs
Why Things not Dangerous Produce a Passion Like Terror
Why Visual Objects of Great Dimensions are Sublime
Unity, Why Requisite to Vastness
The Artificial Infinite
The Vibrations Must be Similar
The Effects of Succession in Visual Objects Explained
Locke’s Opinion Concerning Darkness Considered
Darkness Terrible in its Own Nature
Why Darkness is Terrible
The Effects of Blackness
The Effects of Blackness Moderated
The Physical Cause of Love
Why Smoothness is Beautiful
Sweetness, Its Nature
Sweetness, Relaxing
Variation, Why Beautiful
Concerning Smallness
Of Colour

Part V.
Of Words
The Common Effects of Poetry, Not by Raising Ideas of Things
General Words Before Ideas
The Effect of Words
Examples that Words May Affect Without Raising Images
Poetry not Strictly an Imitative Art
How Words Influence the Passions

"Rape the horses and ride off on the women!"

Stupid Story tsostc.htm

content:

PREFACE

# INTRODUCTION

Psychosocial Mechanism of Stupidity
Biocultural Basis of Stupidity
Pre-Western Stupidity
Non-Western Stupidity

# GREEK STUPIDITY
# ROMAN STUPIDITY
# MEDIEVAL STUPIDITY
# STUPIDITY REBORN
# STUPIDITY REFORMED
# REASONABLE STUPIDITY
# ENLIGHTENED STUPIDITY
# INDUSTRIAL STUPIDITY
# THE AGE OF ARROGANCE

EPILOGUE

BIBLIOGRAPHY

INDEX

"For Reply, send a self-abused stomped elephant to..."

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Katja

when live hates you / heartlessness

fairytales-why did the chicken cross the road

The Taoist Farmer
A farmer named Sei Weng owned a beautiful mare which was praised far and wide. One day this wonderful horse disappeared. The people of his village offered sympathy to Sei Weng for his great misfortune. Sei Weng said simply, "What makes you think this is bad?"

A few days later the lost mare returned, followed by a whole herd of wild horses, led by a beautiful wild stallion. The village congratulated Sei Weng for his great good fortune. He said, "What makes you think this is good?"

Some time later, Sei Weng's only son, while riding the stallion, fell off and broke his leg. The village people once again expressed their sympathy at Sei Weng's misfortune. Sei Weng again said, "What makes you think this is bad?"

Soon after, a war broke out and all the young men of the village except Sei Weng's lame son were drafted and sent into a horrible battle. The village people were amazed as Sei Weng's good luck. But Sei Weng only replied, "What makes you think this is good?"

The Emperor's New Clothes
by Hans Christian Andersen
Many, many years ago there was an emperor who was so terribly fond of beautiful new clothes that he spent all his money on his attire. He did not care about his soldiers, or attending the theater, or even going for a drive in the park, unless it was to show off his new clothes He had an outfit for every hour of the day. And just as we say, "The king is in his council chamber," his subjects used to say, "The emperor is in his clothes closet."
In the large town where the emperor's palace was, life was gay and happy; and every day new visitors arrived. One day two swindlers came. They told everybody that they were weavers and that they could weave the most marvelous cloth. Not only were the colors and the patterns of their material extraordinarily beautiful, but the cloth had the strange quality of being invisible to anyone who was unfit for his office or unforgivably stupid.
"This is truly marvelous," thought the emperor. "Now if I had robes cut from that material, I should know which of my councilors was unfit for his office, and I would be able to pick out my clever subjects myself. They must weave some material for me!" And he gave the swindlers a lot of money so they could start working at once.
They set up a loom and acted as if they were weaving, but the loom was empty. The fine silk and gold threads they demanded from the emperor they never used, but hid them in their own knapsacks. Late into the night they would sit before their empty loom, pretending to weave.
"I would like to know how they are getting along," thought the emperor, but his heart beat strangely when he remembered that those who were stupid or unfit for their office would not be able to see the material. Not that he was really worried that this would happen to him. Still, it might be better to send someone else the first time and see how he fared. Everybody in town had heard about the cloth's magic quality and most of them could hardly wait to find out how stupid or unworthy their neighbors were.
"I shall send my faithful prime minister over to see how the weavers are getting along," thought the emperor. "He will know how to judge the material, for he is both clever and fit for his office, if any man is."
The good-natured old man stepped into the room where the weavers were working and saw the empty loom. He closed his eyes and opened them again. "God preserve me!" he thought. "I cannot see a thing!" But he didn't say it out loud.
The swindlers asked him to step a little closer to the loom so that he could admire the intricate patterns and marvelous colors of the material they were weaving. They both pointed to the empty loom and the poor old prime minister opened his eyes as wide as he could; but it didn't help, he still couldn't see anything.
"Am I stupid?" he thought. "I can't believe it, but if it is so, it is best that no one finds out about it. But maybe I am not fit for my office. No, that is worse, I'd better not admit that I can't see what they are weaving."
"Tell us what you think of it," demanded one of the swindlers.
"It is beautiful. It is very lovely," mumbled the old prime minister, adjusting his glasses. "What patterns! What colors! I shall tell the emperor that it pleases me ever so much."
"That is a compliment," both the weavers said; and now they described the patterns and told which shades of color they had used. The prime minister listened attentively, so that he could repeat their words to the emperor; and that is exactly what he did.
The two swindlers demanded more money, and more silk and gold thread. They said they had to use it for their weaving, but their loom remained as empty as ever.
Soon the emperor sent another of his trusted councilors to see how the work was progressing. He looked and looked just as the prime minister had, but since there was nothing to be seen, he didn't see anything.
"Isn't it a marvelous piece of material?" asked one of the swindlers; and they both began to describe the beauty of their cloth again.
"I am not stupid," thought the emperor's councilor. That is strange; but I'd better not admit it to anyone." And he started to praise the material, which he could not see, for the loveliness of its patterns and colors.
"I think it is the most charming piece of material I have ever seen," declared the councilor to the emperor.
Everyone in town was talking about the marvelous cloth that the swindlers were weaving.
At last the emperor himself decided to see it before it was removed from the loom. Attended by the most important people in the empire, among them the prime minister and the councilor who had been there before, the emperor entered the room where the weavers were weaving furiously on their empty loom.
"Isn't it magnifique?" asked the prime minister.
"Your majesty, look at the colors and the patterns," said the councilor.
And the two old gentlemen pointed to the empty loom, believing that all the rest of the company could see the cloth.
"What!" thought the emperor. "I can't see a thing! Why, this is a disaster! Am I stupid? Am I unfit to be emperor? Oh, it is too horrible!" Aloud he said, "It is very lovely, it has my approval," while he nodded his head and looked at the empty loom.
All of the councilors, ministers, and men of great importance who had come with him stared and stared; but they saw no more than the emperor had seen, and they said the same thing that he had said, "It is lovely." And they advised him to have clothes cut and sewn, so that he could wear them in the procession at the next great celebration.
"It is magnificent! Beautiful! Excellent!" All of their mouths agreed, though none of their eyes had seen anything. The two swindlers were decorated, and given the title "Royal Knight of the Loom."
The night before the procession, the two swindlers didn't sleep at all. They had sixteen candles lighting up the room where they worked. Everyone could see how busy they were, getting the emperor's new clothes finished. They pretended to take the cloth from the loom; they cut the air with their big scissors, and sewed with needles without thread. At last they announced, "The emperor's clothes are ready!"
Together with his courtiers, the emperor came. The swindlers lifted their arms as if they were holding something in their hands, and said, "These are the trousers. This is the robe, and here is the train. They are all as light as if they were made of spider webs. It will be as if Your Majesty had almost nothing on, but that is their special virtue."
"Oh yes," breathed all the courtiers; but they saw nothing, for there was nothing to be seen.
"Will your Imperial Majesty be so gracious as to take off your clothes?" asked the swindlers. "Over there, by the big mirror, we shall help you put your new clothes on."
The emperor did as he was told, and the swindlers acted as though they were dressing him in the clothes they should have made. Finally, they tied around his waist the long train which two of his most noble courtiers were to carry.
The emperor stood in front of the mirror, admiring the clothes he couldn't see.
"Oh, how they suit you! A perfect fit!" everyone exclaimed. "What colors! What patterns! The new clothes are magnificent!"
"The crimson canopy, under which your Imperial Majesty is to walk, is waiting outside," said the imperial master of court ceremony.
"Well, I am dressed. Aren't my clothes becoming?" The emperor turned around once more in front of the mirror, pretending to study his finery.
The two gentlemen of the imperial bedchamber fumbled on the floor, trying to find the train they were supposed to carry. They didn't dare admit that they didn't see anything, so they pretended to pick up the train and held their hands as if they were carrying it.
The emperor walked in the procession under his crimson canopy. And all of the people of the town who had lined the streets or were looking down from the windows, said that the emperor's new clothes were beautiful. "What a magnificent robe! And the train! How well the emperor's clothes suit him!"
None of them were willing to admit that they hadn't seen a thing; for if anyone did, then he was either stupid or unfit for the job he was in. Never before had the emperor's clothes been such a success.
"But he doesn't have anything on!" cried a little child.
"Listen to the innocent one," said the proud father. And the people whispered among each other and repeated what the child had said.
"He doesn't have anything on. There's a little child who says that he has nothing on."
"He has nothing on!" shouted all the people at last.
The emperor shivered, for he was certain that they were right; but he thought, "I must bear it until the procession is over." And he walked even more proudly, and the two gentlemen of the imperial bedchamber went on carrying the train that wasn't there.


tr. Erik Christian Haugaard
Hans Christian Andersen, The Complete Fairy Tales & Stories.
NY: Doubleday, 1974. pp. 77-81





WHY DID THE CHICKEN CROSS THE ROAD?


Plato: For the greater good.

Karl Marx: It was a historical inevitability.

Machiavelli: So that its subjects will view it with admiration,
as a chicken which has the daring and courage to
boldly cross the road, but also with fear, for whom
among them has the strength to contend with such a
paragon of avian virtue? In such a manner is the
princely chicken's dominion maintained.

Hippocrates: Because of an excess of light pink gooey stuff in its
pancreas.

Jacques Derrida: Any number of contending discourses may be discovered
within the act of the chicken crossing the road, and
each interpretation is equally valid as the authorial
intent can never be discerned, because structuralism
is DEAD, DAMMIT, DEAD!

Thomas de Torquemada: Give me ten minutes with the chicken and I'll find out.

Timothy Leary: Because that's the only kind of trip the Establishment
would let it take.

Douglas Adams: Forty-two.

Nietzsche: Because if you gaze too long across the Road, the Road
gazes also across you.

Oliver North: National Security was at stake.

B.F. Skinner: Because the external influences which had pervaded its
sensorium from birth had caused it to develop in such a
fashion that it would tend to cross roads, even while
believing these actions to be of its own free will.

Carl Jung: The confluence of events in the cultural gestalt
necessitated that individual chickens cross roads at
this historical juncture, and therefore
synchronicitously brought such occurrences into being.

Jean-Paul Sartre: In order to act in good faith and be true to itself,
the chicken found it necessary to cross the road.

Ludwig Wittgenstein: The possibility of "crossing" was encoded into the
objects "chicken" and "road", and circumstances came
into being which caused the actualization of this
potential occurrence.

Albert Einstein: Whether the chicken crossed the road or the road crossed
the chicken depends upon your frame of reference.

Aristotle: To actualize its potential.

Buddha: If you ask this question, you deny your own chicken-
nature.

Howard Cosell: It may very well have been one of the most astonishing
events to grace the annals of history. An historic,
unprecedented avian biped with the temerity to attempt
such an herculean achievement formerly relegated to
homo sapien pedestrians is truly a remarkable occurence.

Salvador Dali: The Fish.

Darwin: It was the logical next step after coming down from
the trees.

Emily Dickinson: Because it could not stop for death.

Epicurus: For fun.

Ralph Waldo Emerson: It didn't cross the road; it transcended it.

Johann von Goethe: The eternal hen-principle made it do it.

Ernest Hemingway: To die. In the rain.

Werner Heisenberg: We are not sure which side of the road the chicken
was on, but it was moving very fast.

David Hume: Out of custom and habit.

Jack Nicholson: 'Cause it (censored) wanted to. That's the (censored)
reason.

Pyrrho the Skeptic: What road?

Ronald Reagan: I forget.

John Sununu: The Air Force was only too happy to provide the
transportation, so quite understandably the chicken
availed himself of the opportunity.

The Sphinx: You tell me.

Mr. T: If you saw me coming you'd cross the road too!

Henry David Thoreau: To live deliberately ... and suck all the marrow
out of life.

Mark Twain: The news of its crossing has been greatly exaggerated.

Molly Yard: It was a hen!

Zeno of Elea: To prove it could never reach the other side.

Chaucer: So priketh hem nature in hir corages.

Wordsworth: To wander lonely as a cloud.

The Godfather: I didn't want its mother to see it like that.

Keats: Philosophy will clip a chicken's wings.

Blake: To see heaven in a wild fowl.

Othello: Jealousy.

Dr Johnson: Sir, had you known the Chicken for as long as I have,
you would not so readily enquire, but feel rather the
Need to resist such a public Display of your own
lamentable and incorrigible Ignorance.

Mrs Thatcher: This chicken's not for turning.

Supreme Soviet: There has never been a chicken in this photograph.

Oscar Wilde: Why, indeed? One's social engagements whilst in
town ought never expose one to such barbarous
inconvenience - although, perhaps, if one must cross a
road, one may do far worse than to cross it as the
chicken in question.

Kafka: Hardly the most urgent enquiry to make of a low-grade
insurance clerk who woke up that morning as a hen.

Swift: It is, of course, inevitable that such a loathsome,
filth-ridden and degraded creature as Man should assume
to question the actions of one in all respects his
superior.

Macbeth: To have turned back were as tedious as to go o'er.

Whitehead: Clearly, having fallen victim to the fallacy of
misplaced concreteness.

Freud: An die andere Seite zu kommen. (Much laughter)

Hamlet: That is not the question.

Donne: It crosseth for thee.

Pope: It was mimicking my Lord Hervey.

Constable: To get a better view.

The I Ching:
Because 9 in the first place means it furthers one to cross the Great Road. No blame.

Chuang-tse: If Confucius and Lao-tse are on opposite sides of the same road , how much more so then the chicken?

Adolf Hitler:
Because it was his racial destiny to expand his Chickensraum.

Herman Hesse:
When the bizarre and solitary chicken disappeared across the road, his landlady's nephew, who felt an odd kinship toward the clucking fowl, found an egg inside the pen she once inhabitted....

Sam Spade:
The chicken pleaded with Sam to let her go. She even tried to seduce him. But Sam sneered, "I won't play the sap for you." He had to clear himself from guilt, and no chicken would stand in his way. His smile widened as he gazed at the bird. "When they fry you, I'll always remember you, kid," he said.

Martin Luther King, Jr.. - I envision a world where all chickens will be free to cross the road without having their motives called into question.

In any bar: because the chick is a sadistic pussy.

Once in a decade: because the chicken has stupid confidence.

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