5 Movements I meet Another in

 (in spire by Hume)

 

Theme 1: Reality

 Hume stars with the central quandary of the mind.  In all the bits and bobs that inhabit a mind, all the imaginations and perceptions, passions and morals, there runs an absolutely critical difference. Impressions, which relate o reality are always more lively and more vivid. My ideas of Paris ad the reality might then be the same in terms of images flickering across he mind, as might the idea of this green, and the green itself, and yet the mind can easily tell the two part. Beyond the mere power of representation then, there is something else, some additional power to real impressions, some extra vivacity.

 What is more the vivacity is highly volatile and motile. It moves. T cannot then be pinned downing this impressions, but will rather lea across a number of impressing impressions. To se this street now, is to have any impressions ground within, pooling vivacity, coming into a mind together. Each impressions is then naturally continuous: that sits vivacity is always elsewhere, always on string little journeys and movement into another place.

 At which point here is another echo which enters into the picture. Resemblance is not as other vivacities are. Resemblance is error prone, and in a sense defines or sets itself in defiance to the vivacity rule. The reason is clear enough. Resemblance is founded not on the liveliness of vivacity so much as he leakiness of the mind-organ system. O create an idea of green, is then to create an idea that appeals not merely to this one green here and hw, but also o all other such greens.  Capture a thought, or better I become aware of on impressions then through a certain  magnifying glass of reality, and a certain pitch. Each pitch creates it own reality, or perhaps ties own pinch of reality and so its own power. To be a body is then to exist at a certain place, it is to be insinuated in a certain pinch of realty, which is distinct to itself. The impress n then never to see the world as it is, but rather as whatever orphan of the mind allow one imprison in simple ideas.  Every impressions then finds echoes elsewhere, echoes the body, and its finite pinch creates and gives to it. Echoes the  mind need assume.

The upshot is of course that resemblance registers in repeating otherly, the distortion of being in the world. In perceive the world as a pinched part, and cannot then readily tell which part in that pinch is myself, and which the world.

Setting his alight is then the job of causation, Causation is an ordering system or implied, beloved order. I is a way of inferring or building  mind out of relate contiguities. It then exists at the point the contagious and the reaped meets and gain power together. Events that were not together are then made to lend one another their own vivacity, and so become the same basic thought (though the power off the contiguous)  . This mermaid o the principle a bit of this and that), creates a home for the mind. A place where it is, and its perceives within a world. Where whatever processes are actually driving the world are lost or cease to matter. We have a world given to us be causation – a belief (a very well believed) order, which combines perceptions reality and poison. These causation, these orders might only be created in my mind 9and a s a product of what I am), but that matter not at all. They are sill my thoughts, and feeling, my powers, they are still he world I believe in.

 And yet this needs not stop that little echo of the vivid, moving on. All the principle do is encase that movement in familiar .little journeys. The vivid, is till there, still always that which is in the process of moving into another, hooking or involving another-  that borrowed dimension to reality that cannot fixed or finished, or bound in any belief (and knows no single simple truth) and which must ever be moving and removing on…

 To borrow a world from reality, is therefore to always be meeting already another.

 

 

Theme 2; Art.

 

 What does art do? It clearly hooks up the powers of passions to create intensity and echoes then into a vivid image. We see or here, and the feeling is expressed. and yet it is expressed within the vivid, and according to the mechanics of he lively mind. The impressions then as impressions take the ‘intense-vidiness’ and bleed it across other ideas, or into other ideas, through resemblance assuredly, or according the laws of the complex continues thought. An intensity is then opened up to other worlds, beyond the canvas walls  if the symphony room. It echoes into other dimensions and so tale blazes worlds.

 The idea, with is extra dimension, it extra power or vivid element, allows a mind a considerable freedom, a freedom it normally cannot have, The power to imagine vividly or more vividly, and so quite literally to create world in ones minds. An art work is then a spinner of worlds. I finite wall echo into a thousand halls, and open on a million possibilities, possible reasons or thoughts, other worlds, where this image it true in someway or other.

 The artist is then not he creator or recreate o his world, nor yet the creator of one world, as if there were a god, The are rather a individual who pitches (or punches) a into imagined spins it against all possible worlds. The work or art is then the junction box to the universe: the place this universe spins into othering realties: The point that realty (understood in its most vivid sense) it given its full power and pitch. That is it steps being really my thought or m perception, but rather  as the real itself, opens ( as the Deleuzian Percept does) on many worlds, and echoes of world and powers to that echo.

 The work of art in effect re throws causality. The causal principle had been the place resemblance and contiguity meets in  mind to bind one it o the on world. Art ought opens one out to man worlds, all of which resemble this one, all of which this one in front of us might already be a part of. Continuity, the blues in the figure, the expression in this, the backlight coming from the canvas itself (or infusing a melody, or film), is then end into other worlds other places or powers, other journeys which one had not yet thought or felt.

 And yet this gateway t the worlds has an initial problematic move. To create this gateway in the first place the mind must be thrown into an intense passion, and yet not quite care about it. Another suffering or joy, muse clear, an the mind echo that joy or power in itself, and yet not directly share of it. We feel then the pain, not directly, but as a power, as that pain is a power of feeling across worlds, as it serves as a gateway o many conflicting destinies. The power art must art then is a displacement of pardon, and  power of displacing. I must gain a power and loose a world: Gain the power of passions, but loose the place from that passion, to create to start to create creating from. An art work must then be a movement of intense othering, and the passion that would that should if it had been of this world in their orbit, lead to action or grief, is freedom to build worlds and powers of its on.

 Once freedom of curse, the power of art is the power to interfere with this world. it echoes in memory, and image which wall no quite die, and in he effect the infusion of these imagines into our world: misery after Bergman mead not be the same, as yellow after Van Gough is not quite same shade: Both open of other worlds and other powers, and are caught in othering possibility.

 The power then of art in its callous spin, is to open up options, options that can invade even the dullest of movements and powers,. I might be unhappy, and yet maybe beyond everything there are possibilities here: the callous of mind o create art, becomes in the mind of the viewer the spinier that might allow then to build their passions in to otherworld and so turn the worst of nightmare into a powerhouse of =othering reality.

 In see art then is to meet another in possibility: it I to be always open to other options, and othering worlds.

Theme three: The dark world of power.

 

 This last move though creates a shadow world, that power. it is very easy to assume that intensity and vivacity are one and he same power or are so immediately. If one does and one almost most), the world is caught no the bite of intense powers, which complete this vivacity this way or that. The power of a mind to make a world or create it , is then externalized. It becomes some feature or facet or illusion of that world that is doing the patterning, and having the power.  This move then looses so much. I looses the rights o the mind to actually be its virtuosity is – the conductor which pulls out the powers of its owns and ht reality of the world to in vivacity and intensity give itself a world to be in. the mind is worth more than mere power, worth more that the assertion of itself as externalized reality.

 But also and far more importantly one looses sight of what is special in vivacity, in al this glory of power. Intensity invariably claims the dominate position, t is after all the loud strop of the mind – the power that gives or attributers the  world. Power is then the echo f constants and not actually what the world real, the vivacity of thought and the lighfooted nature of the real. The vivid is then lost too easily in the thoughts of power (or it is caught only in causes, in the thus makes that of the mind – in the attributed powers).

Finally, power distorts where you actually do meet with other, other minds. There is a far more gentle point in morality where we do me, you and I, do actually create in creating an internal world, create the same world, with the same extra dominions. We do not though create those in simply assoiling with but come together, an are through and in one another as a part of the process.

Power then trades an days and rather flattering of the mind, for the actually difficulty of being. the solution might be a quick fix but that it all it is, and path of the sceptic philosopher is always t remind us of this fact. We should not, we must not trust such overly convenient truths or powers.

 The philosopher then pitches themselves against that easy part of the mind that assumes those in charge really are creating a world, and so have power that it genuine and useful. The tyrant might crave such power, or simply assume they have it, and yet the oppresses in which that power is lived or felt will think quite differently. The appeal then of sceptical philosophy is the peal to freedom  the freedom of the oppressed not to simply and reactively react to the act of oppression and personalizing the power that oppressed them as a single force ( a bad or vile man). The power of the sceptic is the power to step beyond the drier system of good and evil, and do beyond individuality and genealogies, and into the moral domain (from Nietzsche).

 Power is then less meeting another and more the anothering of owns own mind, into the world. It is the anothering of the world as it has impressed upon a mind: the meeting with the world as another as that assume to be impressing this mind and giving it its power: the antinomy of power or its dark principle lies in meeting ones mind in another (the world).

Theme 4: History

 What makes history so different Hume asks? The answer is that as I am a historian I need to use the power of the finite mind to go against my own vivacity. Vivacity flows in a direction, it moves from there to here, towards a future, into an other, while history is forever attempting to move it backward. One needs then not to go I to another, but rather start with what was: o better what it was ht changed into that other (which is also us).

 The power then of such a history is to change our own here an now at all). And yet  the challenge here is rather complex. On one level I have to of course assume ht history is the same or has the same dimensions as this world There needs to be at some unit level individuals making actions and acing according to motives that we have now, and can easily imagine and readily explain. And yet we have jumped to, that world before ourselves, needs also to register elements that are different, and are hard to imagine: we cannot readily see how iron first came to be smelted or where agriculture came from, and most then attribute both the Gods or individuals with power of gods. Our world in the pas becomes then divinely inspired. We cannot easily (used as we are to go from their to here) see that world or at se where it stared, and so are caught in the gory do past we cannot directly comprehend; a scilliation of ourselves as a mystery into he past.

 In doing o we meet a very another. That another is not the pure past as such, onto the pas that was, so much as the  fact, that first our world game from somewhere, there was a something and that we cannot easily imagine. There was some moment when touched by whatever power, cosmic radiation or random shuffling of genes, or division of the world that humans othered themselves as a sciences, and started to relate a world not as monkeys are….

In the past then we learn both hat we are a part of the world, that history appends, changes slowly develop, and yet also hat actually it is that makes so special: What salient point in the past we look for and cannot find save in mystery. Or divinity or hidden chance. The therefore learn our own power of see that power refracted into eh creates we attribute to others of the past.

 History in the perfect occupation of the sceptic, for it is the approach that teaches humanity they themselves are really finite it shows what hat finite means: a world is conjured up, which is busy creating our world, and forming it. And yet in a way we another  (In the here) quite understand or jump towards or though or with. Our world and that world then are drawn together, and held in the same crystal, even as we cannot see how they made us, cannot unpick the otherng, the creation of the future that reality breeds.

 I meet another n the past then, but that other is not human as such, so much an our world as it is being create din the minds of others. We become the twinkle in their divine eyes, and meet our another in their actions – meet he things we will be is their all too normal movements and possibilities. History is then ourselves in another – n the twinkle of that others eye.

Theme 5: Morality.

 

Where then do meet you and I, given the fact that reality s not ours, and that passions demand their own worlds. If there is no immediate release, no world of dominion, of my making you comprehend my world and you resenting, then where?

 Hume has a beautiful answer to this problem. Perhaps he says we me into hat very making of the world . Me might make the world our own, we might demand a world like we demand as a house or a personality, do call our own, and yet that demand is made from organs o the mind which are not ours alone. The world is ours, but other forces that make it. These are rather the property of reality or the organic mind.

 These powers then might not actually necessarily pose, and if they do not then there is no real reason why they might not be an accord. Or better the reason they are not is because I am attempting to hold myself down to hard-  I am demanding my individuality and asserting my right of make worlds, I ought not to earn. There is then  certainly a place for me in the world, a place I am, a pride and a power for me (and I cannot easily assume or allow my world to be shared without it), And yet that is just a starting point or place. It is where I begin from, and is not the be all an end all as such. I perhaps better understood as the point  in allowing myself and my own advantage to be, and also understand and transects other individuals, an allow them there own potion, their own advantage. My advantage  my vantage point, and their vantage point are then given their own spaces. We are all building our own worlds, and needs before we allow others in, to accept this fact. , for one cannot by with another, unless that other also is.

 And yet once we have accepted advantage, for yourself and for those others, we are free, I that adamant to together create a sharing of the world. That is we are fee, to allow when we do create the same world or in passions, create an orbit which is shared across the minds organs by other;

We are free then to create a world of concentric circles: orbits I share with others an others interests, orbit where we are together making the same world. Being with nether, allowing for that othering, becomes then a circuit or series of moments, of points where you and I are one and agree (and point where we differ, and yet understand that difference).

This sharing is itself creative We might define orbits you and , and yet we do s as spontaneous creation: We discover them, and our overhauling interests as occasion demands. Once then they are discovered our sharing facets in a new dimension, a new richness to this world, and allow it to breathe its own reality into us. We become its creative citizens, even though it was occasioned by us: as such we participate in its powers, and become able to act in a new dimension or sphere, a new sharing of a world.

A world then games a moral compass: to make my world is to echo into another’s, and at places we are sharing the same world as we move out into families and across communities, and at others this is our world alone. Both happen, both are not being with another.

In homes final theory, morality becomes the means in which I and another are given together, : We make and mutually enforce a world together – a world where we allow the other their individuality, and yet in respecting it, gain power within them to build communities or lives. Being with another-  then allows us also to be with tat others world – and so to another myself within another world- better with another, and through the power that links us, the interests that bind, I create not the one world of passion, but any world, all which I can be with and through. Being in the world, becomes then being in a kaleidoscopic pattern a constellation of conjunction of orbiting worlds, and to revel in that fact.