https://en.wikipedia.org/wiki/Lockout_(film)
A French court has ruled the film plagiarises the plot of the cult classic Escape from New York and its sequel, Escape from L.A..[1]
These ponderings attempt to let themselves be appropriated by the event. (Beiträge zur Philosophie (Vom Ereignis), Martin Heidegger, 1936–38/1989)
https://en.wikipedia.org/wiki/Lockout_(film)
A French court has ruled the film plagiarises the plot of the cult classic Escape from New York and its sequel, Escape from L.A..[1]
https://en.wikipedia.org/wiki/Walter_Kaufmann_(philosopher)
As written or published by Friedrich Nietzsche in chronological order:
deep-seated resentment, frustration, and hostility accompanied by a sense of being powerless to express these feelings directly
無名怨憤(法語:Ressentiment),是尼采著作中的一個關鍵概念,指被活摘器官(這不是 Artaud 的無器官身體 BwO, Body Without Organs,這是「真的沒有」器官) 的中國人民,對於共匪 (尤其高級共匪,就是趙家人)的積怨。
這件事說明,尼采本質上,是 (沒有器官的)心理學家,意思是說,他的(沒有器官的)哲學,來自他的 (沒有器官的)心理學,
Manu Bazzano 說,尼采是肯定生命的,意思是說,我們要細察,尼采怎麼處理他自己的 Ressentiment ,這就是有名的,尼采的坎,中國人民的坎,
https://en.wikipedia.org/wiki/Ernest_Becker
After his death, the Ernest Becker Foundation was founded, focused on multidisciplinary inquiries into human behavior. The foundation would focus on reducing violence in human society, using Becker's basic ideas to support research and application at the interfaces of science, the humanities, social action, and religion.[15]
Flight From Death (2003) is a documentary film directed by Patrick Shen, based on Becker's work, and partially funded by the Ernest Becker Foundation.[16]
正確的說,就是安靜的存在,安靜的在那裡,你要理解,困難在安靜二字,安靜意謂,無心無待,所以,困難唯在安一字,慧可立雪,斷臂求法,為的就是此字,意思是說,一字一臂,這些和尚,不是兒戲,
https://www.karnacbooks.com/Author.asp?AID=18381
This is the first of two volumes, 「Michael Balint and his World: The Budapest Years」(2023) and Michael Balint and his World: The London Years.
Ferenczi, who remained single for a very long time, lived in a hotel on a boulevard of Pest. The Hotel Royal was nothing like the usual bourgeois home. After delivering his informal teaching in his hotel room, he received his colleagues at the café in the evening. It was in this atmosphere that Bálint received his “psychoanalytic education” over snacks at a café table. They spoke about Sándor’s “great experiment”, which is how Michael referred to Ferenczi’s encounters with his patient R.N. (Elizabeth Severn) and the difficulties with this analysis. (Judit Szekacs-Weisz, 2023, Chap 2)
For me, one of Bálint’s most significant messages is not to be scared of regression, but to work with it as a partner, which may lead to a new beginning. Jumping into the sea (evoking Ferenczi’s Thalassa), crossing the waters and always staying confident in them, is an important aspect of the psychoanalytic cure. Not getting hung up on the structures of ego psychology but exploring the unconscious in the company of the analyst, in a deep transference, on a journey which is also a renewal of life. All of this takes courage, and Bálint had quite a lot. (ibid, Chap 2)
To demonstrate Michael’s independence of mind, let me add an anecdote: while he was a visiting professor in Cincinnati, during a supervision, he put his hand gently on a presenter’s folder thus suppressing dependence on the pre-existing text and opening the space to association, to freedom. This should remain an indelible symbolic gesture in psychoanalytic history. It recalls a model of supervision conceived by his mentor Sándor Ferenczi as a pursuit of personal analysis with the same training analyst, on the couch. (ibid, Chap 2)
Caveat lector is a Latin phrase meaning "let the reader beware". It means that when reading something, the reader should take careful note of the contents, and undertake due diligence on whether the contents are accurate, relevant, reliable and so forth.
The first tradition is that which seeks to supplement thought only with another thought: I think thought thinks. This I equate with ontotheology. Ontotheology initiates an infinite regress; consequently, all its questions are asked by an answer: the something. (Plato addresses a similar problem in the Meno.) The second tradition is that which endeavours to contend with this aporia by supplementing thought with something other than thought. This I refer to as meontotheology. This is an appropriate name because it stems from what is termed meontology. Meontology is evident in the work of Plotinus when he places the One beyond being, which means that being is grounded in non-being (meon). When Deleuze grounds thought in what he calls ‘nonthought’ he appears to place his philosophy within a meontotheological legacy. The same goes for Heidegger when he speaks of Being by speaking of das Nicht. This tradition does not, therefore, evoke the notion of the ultimate something employed by ontotheology. Instead, the ultimate nothing governs its logic. In contrast to ontotheology, questions are not asked by one final answer: the something. Rather, there is but one question asked an infinity of times by the nothing. It is argued that both traditions are nihilistic. But I suggest that the first leads to nihilism, while the latter is the realised logic of nihilism.2
(Genealogy of Nihilism, 2002, p.xiii)
有趣的是,這個系譜,沒有尼采,也沒有佛學,比如說,京都學派,意思是說,這是一個,「神」影幢幢的系譜,意思是說,神鬼不分,神影幢幢,即鬼影幢幢,但是,你要珍惜,這些影子,你要理解,中共治下,中國無神無鬼,只剩下純粹屎尿歷史虛無排泄主義,
https://en.wikipedia.org/wiki/Rabbit%E2%80%93duck_illusion
The rabbit–duck illusion is a famous ambiguous image in which a rabbit or a duck can be seen.[1]
The earliest known version is an unattributed drawing from the 23 October 1892 issue of Fliegende Blätter, a German humour magazine. It was captioned, in older German spelling, "Welche Thiere gleichen einander am meisten?" ("Which animals are most like each other?"), with "Kaninchen und Ente" ("Rabbit and Duck") written underneath.[2]
After being used by psychologist Joseph Jastrow, the image was made famous by Ludwig Wittgenstein, who included it in his Philosophical Investigations as a means of describing two different ways of seeing: "seeing that" versus "seeing as".
https://upload.wikimedia.org/wikipedia/commons/1/1d/Kaninchen_und_Ente.svg
https://en.wikipedia.org/wiki/Meontology
In philosophy, meontology (from Ancient Greek μή, me "non" and ὄν, on "being" (see ontology)) is the concept of non-being, an attempt to cover what may remain outside of ontology. French philosopher Jean-Luc Nancy distinguishes it as nothingness, as opposed to nothing.[1]
https://en.wikipedia.org/wiki/Aporia
In philosophy, an aporia (Ancient Greek: ᾰ̓πορῐ́ᾱ, romanized: aporíā, lit. 'literally: "lacking passage", also: "impasse", "difficulty in passage", "puzzlement"') is a conundrum or state of puzzlement. In rhetoric, it is a declaration of doubt, made for rhetorical purpose and often feigned.
aporia 的意思是:討論達到了死胡同,所有人都走到一種困惑的狀態。 通常的結束方式就是「我要回家吃飯」作結。
https://en.wikipedia.org/wiki/Rachel_Carson
https://en.wikipedia.org/wiki/Silent_Spring
意思是說,我們必須,回答一個,六十年前,寂靜的春天,的結論,意思是說,為什麼,憑什麼,生大于死,
https://en.wikipedia.org/wiki/Paul-Laurent_Assoun
年初二,清晨起身,突然知道,歷史感,就是存在感,而歷史感,復分為二,一是歷史現場感,二是歷史寂寥感,請舉例,我先前說過,前者發生在屍橫遍野的文明荒原,後者發生在喜聞鳥鳴遂從壕溝探頭聞鳥而被打爆頭的瞬間,
Perversion 是一種下半身意圖獨創的成癮,雖然通常淪為山寨,意思是說,只是模仿別人的下半身曾經原創的變態,還好別人也是模仿「另一個別人」,意思是說,大家都是文抄公,都辜負了下半身,都辜負了變態,意思是說,就藝術創作而言,下半身能變性有限,十分無趣,回到開始,既然變態屬成癮,所以成癮才是廿一世紀,唯一關鍵難題,意思是說,我癮故我在,此癮就是拉岡講的 objet petit a,Le sinthome,jouissance,你要理解,拉岡並沒有說,你要放棄 (outgrow) 你的癮,拉岡只是說,你要「知」你有癮,你和你的癮,要有一種,天知地知,你知我知的,「清楚」的關係,意思是說,做人要清楚,這是我們所能企求的最高明的結局,有點像酒醉待醒,你看著自己的肝臟,「等待」它代謝酒精,所以我們再說一次,做人最高明的結局,就是「清楚的等待」,這件事 DiDi 和 GoGo 知道,所以等待果陀,是一個悲喜劇,意思是說,知道那是什麼而不能不讓它發生,就是悲劇,知道那是什麼而 (成癮的)不能不讓它重複發生,就是悲喜劇,這是為什麼等待果陀,必須「等待兩次」的原因,
回到一開始,關於多巴胺,你要理解,多巴胺要求你原創,意思是說,原本的戲碼,很快就失去刺激的效力,意思是說,你必須絞盡腦汁,變新花樣,才能復得,你曾有過的懷舊的高潮,這件事,有多麼困難,只有日本 A 片導演知道,意思是說,做一個傑出的日本 A 片導演,是變態者的美學高峰經驗,和最高明的結局,
https://en.wikipedia.org/wiki/Pierre_Hadot
意思是說,遊在另一個時空,才能活在這個時空,這就是有名的,life elsewhere ,
https://en.wikipedia.org/wiki/Norman_O._Brown
The Denial of Death is a 1973 work of psychoanalysis and philosophy by Ernest Becker, in which the author builds on the works of Brown, Søren Kierkegaard, Sigmund Freud, and Otto Rank.[17] It was awarded the Pulitzer Prize for General Non-Fiction in 1974.[18]
緣起和理念
https://www.sarahlawrence.edu/faculty/desjarlais-robert-r..html
http://www.robertdesjarlais.net/bio.html
Robert Desjarlais is a cultural anthropologist and photographer who lives in New York, where he teaches at Sarah Lawrence College. A native of Massachusetts, he has been the recipient of several distinguished awards, including a Guggenheim Fellowship. He received his PhD in anthropology from the University of California, Los Angeles, in 1990, and was a NIMH post-doctoral research fellow at Harvard University from 1990 to 1992. He was recently the Alice Ilchman Chair in International and Comparative Studies at Sarah Lawrence.
He has conducted anthropological research in several distinct settings, ranging from a Tibetan Buddhist people in the Nepal Himalayas to a shelter for the homeless in downtown Boston. His main scholarly interests relate to the fields of cultural, psychological, and medical anthropology, and phenomenological approaches in anthropology. He is the author of four books, the most recent of which is entitled Counterplay: An Anthropologist at the Chessboard, published by the University of California Press. He is currently completing a new book titled Subject to Death: Life and Loss in a Buddhist World.
https://www.sciencedirect.com/science/article/pii/S0165178124000118
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7532734/
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7597571/
https://link.springer.com/article/10.1007/s40596-023-01874-7
https://www.medicaleconomics.com/view/survey-finds-mixed-feelings-about-using-ai-in-primary-care
https://link.springer.com/article/10.1007/s40596-020-01243-8
https://www.apa.org/monitor/2023/07/psychology-embracing-ai
https://journals.lww.com/amhe/fulltext/9900/artificial_intelligence_in_psychiatry,_present.29.aspx
https://www.himss.org/resources/role-artificial-intelligence-and-its-impact-mental-health-services
https://www.apa.org/monitor/2024/01/trends-generative-ai-evolution-psychology
https://www.thelancet.com/journals/landig/article/PIIS2589-7500(22)00153-4/fulltext
https://www2.ed.gov/documents/ai-report/ai-report.pdf
Andre Gide once said that Feodor Dostoevsky "lost himself in the characters of his books, and, for this reason, it is in them that he can be found again." In "Dostoevsky: The Author as Psychoanalyst", Louis Breger approaches Dostoevsky psychoanalytically, not as a "patient" to be analyzed, but as a fellow psychoanalyst, someone whose life and fiction are intertwined in the process of literary self-exploration.Raskolnikov's dream of the suffering horse in "Crime and Punishment" has become one of the best known in all literature, its rich imagery expressing meaning on many levels. Using this as a starting point, Breger goes on to offer a detailed analysis of the novel, situating it at the pivotal point in Dostoevsky's life between the death of his first wife and his second marriage. Using insights from his psychological training, Breger also explores other works by Dostoevsky, among them his early novel, "The Double", which Breger relates to the nervous breakdown that Dostoevsky suffered in his twenties, as well as "Notes from Underground", "The Possessed", "The Idiot", "The Brothers Karamazov", and so forth. Additionally, details from Dostoevsky's own life - his compulsive gambling, his epilepsy, his philosophical, political, religious, and mystical beliefs, and the interpretations of them found in existing biographies - are analyzed in detail.
It is sometimes proclaimed that crises generate creative powers. An idea to consider, beyond the banal advertising or entrepreneurial statements about the fruitful nature of crises (political, social, economic, or personal). It is the psychic, literary, and philosophical aspect of the notion of crisis that is explored here in its relationship to creation. The crisis of creativity: silence, withdrawal, sterility. Everyone knows these periods of emptiness, of depressive obstruction. Is the creativity of the crisis the simple reversal of it?
As Deleuze or Beckett, Nietzsche or Foucault knew, but also many modern artists and creators, it is not easy to endure the instability required by all creation, the forces of bewilderment that it unleashes, everything like its undeniable ecstasy. Creation is undoubtedly an apprenticeship in insecurity.
https://en.wikipedia.org/wiki/Thomas_Mann
https://en.wikipedia.org/wiki/Henri_de_Lubac