Echoes inside and out

 

1)     ad yet there must be more to empiricism than this. Hume famously argues hat, by and large on could not ever have the idea of anything, even simple ideas such as blue o loud without experiencing them first.

2)   Here of course there is that caveat 9fo which he gets abuse, that once one had enough of the experience, once one has seen thousands of blue, ones imagination can understand the nature of blueness and infer shades one has not sent.

3)    One is never then a passive marrow in this process – ones mind is partially proactive. And what is more once one has that blue shade then it is their for one: it can be taken and conjoined, driven into fantasy, made into this and that by the conjoining mind (as long as the passions are great enough).

4)    The perception is simple ideas then enlivens the mind: once one has them, the become part of the hard wire – the synthetics of sight and the imagination of sight.

5)    That is akin those kittens and sight as a model, we might say, that one acquires the ability to see, to have sight, in the brain, the presence of light. Once light is their the brain sees and know that it sees. Nice ought is their all kind of organs of mind spring into place. And yet without this light, these organs are not their at all (or are simply lacking). The experience really challenges the mind.

6)   In  effect  what is met in a simple idea, I certainly a vivacity which has extra value: the simple idea is then a net, capturing some thing more than imagination, a power of reality, which cannot be caught safe in these cautious point o parts.

7)   But  also certainly a facet of the minds-body organs: one meets then hat one fleshy parts can meet. On meet what a body, and all its paraphernalia of being can see. If we were made different, or excised at a different place in a different sale what or who we would meet would be so different. One meets then a world, by rolling out ones fleshy parts into and across that world : By existing  in that existence creating from one water or flesh little points which wrap up, according to ones organs in action, a world.

8)   Each perception then gives according to the mind of oneself, a little piece of the world, it hits whatever hidden spring - the ones closest to and for us, and gives those springs, in a single impressions, or simple idea.

9)   Simple ideas are then only simply t us. They exist as the point hidden shifts beyond us are trapped into our minds eye, enforced to lend us some of their reality.

10) It is in interacting we get the ideas in the first place therefore; It is in interacting the simples are initially created or born in us or for us.

11)  And this is true even though, once born the idea becomes n innate part of us. That is I is becomes a think the mind already imply assumes and already is.

12) the mind and its organs a are then really structured in their experience, in their casting out upon reality.

13)  This of course creates in that grasp an mirror point, which in a sense is beyond the impression itself (and so caught in those hidden springs of being0.

14)  This error point is not really something one can know or about. It is only accessed in what we are given in simple ideas, and according to the organs of the mind.

15) And yet what it would want o claim (and Hume could doubt the actually proper ness of this move), if one looked beyond what resemblance gave us, to that beyond us which tumble is at this point (and initiates a change), then this element is odd.

16) It is not an event: one the contrary the tumbler is the simplest and most mundane of elements. It I the outside or impression; The outside of a blue, or dirty white or cry, which in the giving, in the noticing is demands a world.

17) An impressions beyond ourselves would then be (in this counterfactual world), that which once given demands one or more than one world to cloth it in

18)  A sound then will a cry to battle, the balling of a child, a note in an chorus a….

19) To have a perception which fashioned then mind in its resembling is therefore to have a perception which balls across the mind as it is, and spins across many world, and finds echoes or features or facets for itself in them all.

20)                  In hearing that note, one hears the rest (and myriad others), echoes in hat note, as the hidden spring- organic mind-body that gives a perception, does not give it in a here and now tied to there and then.

21)  Or rather creates a conjunction a means (in ressemblenc0 for conjoining, a demand of worlds.

22)                  It is no wonder then we all need to be sceptics. The sceptic philosopher, is one who listens to the world impressions create within the, and understands it well enough, and the fact that it makes the world, and yet also knows that it is never clear exactly what world is being made.

23)                 In the echoes of the outside we hear, echoes that demand our minds immediate reaction, their might very well be many worlds  hidden or emerging. The same set of impression are then always even as they our pointing to an outside part in other impressions and the true sceptic know it.

24)                 It is then the irony of Hume's position, that as  a good sceptical philosopher must, he understands that the key ingredients of the mind, must reflect the most ambiguous of facets of the universe.

25)                  The hidden spring of something within the body, which then are given and yet are never formally finished or completed: the are given then not in the one world so much as that which can always move between world and enter other one, and be a part in new ones.

26)                 Resemblance creates then as it were a  mirror o f vivacity (which tends to ally itself with continuity). This mirror explains the vivacious elements, the looking up into ideas of the elements within the mind in terms of the unit, the spring the whatever that ceased the mind in the first place, and drove this or than impression into it.

27)                 This space is then rather other than the event; If one wants to find that, one needs to move almost in the opposite direction. Ad though passions. It is the power of passions to unify agglomerations of vivid elements into singular and fixable occasions.

28)                  This is not a child playing on the swing: It is rather Alfred, a nephew of mine.

29)                 And went this unity in passions is rather complex: it might spring from the contiguity of impressions (which creates the easy vivid world), and inhabit that unity, those complex ideas as they are given over into a mind.

30)                 It then creates local points, point of feeling. And yet these feelings working by their own intense truth create of course reflection and patterns of their own.

31)  This Nephew here, s as yet still only a nephew of mine (even if he is the only one). What he might be, how his passes and my passions in relation to him are, how there evolve across a time and through a time, will then as yet get open.

32)                  All hat matters at he movement is the chuckling infant before me, and my being caught p in that chuckle, wherever it leads and to ever.

33)                 The chuckle of that infant is then not mere the appeal to the hear and now, to this intense feeling, but is also already part of the complex rule of intensity than governs these passions, the rule than ill necessarily derive or understand as derived or free flowing any subsequent feeling.

34)                 Each feeling in each series of impressions, or each complex ideas, is then at once an urgent union, but also, appeals even as it is a feeling to other feeling – it feels itself also to be a part of this other: to march with and through them.

35)                 Here of course the freedom of Humes methods stats to play him, The feeling, the passions will of itself lend a direction to a vivacity. It then gathers these up, and creates then in an order, it pitcher then not then as a mere one after the other, but rather a slice in temporality.

36)                  Not is their really anything making this slice have to obey the one rule of time (reality s elsewhere than this, and passions power lies in pitching against it, they are not then part of some truth, even if that truth is actively lies).

37)                 A passion then defies the ordering of contiguity or better imposes upon that order, that already there a local order and direction of its own. It creates its own orbit or series.

38)                  And yet even s it does so, it opens the orbit it crates to the same passion elsewhere. As passions (as all products our organs) are open ended, so the feeling they create are not fixed beyond the immediate conjoining.

39)                  The same feeling might then in other context be different, or might develop into differences.

40)                  What is created in the here and now out of these contiguities, implies a map of its own way beyond what is given here.

41) That is as events happen, and causes are made out of event, and a world built, then the passion will modify and change accordingly. They mp out a shifting word: they given the sense that world is shifting.

42)                 In then holding these events, in creating this world, with a nephew of a swing in it, I open myself up o many other worlds, ad many other passions. I create then almost a dialogue or better a choir of world.

43)                 The ac of making the one (or perhaps more sceptically of adding significance into one world and so driving it into another-  a child becomes a nephew).

44)                 To make an event, is to world a little world for ones self to be in: and yet this building this annexing of impressions into uneasy union of feeling, is not to build the one world, but rather it is to open out on many.

45)                 It I then to create a mind where impression cease to be neutral.

46)                  They become rather something  to agree with, silent accept, or even oppose. Ones own being taking a view and demands a certain world for itself.

47)                 It raves against this one or defines it or seeks o make it anew: it follows its own maps of feelings, and unwinds its own being across that map.

48)                  It develops its own then patch work of tenses and reaction to tense – a patchwork that can be made with or against reality.

49)                  The finite body hen really pitches its power against the world (or at least partially opposed to the world).

50)                 It ceases to be in the here and now, and becomes about the where or when. It is caught up in taking issues with world and creating others for itself.

51) It becomes caught up in rehearsing as  fantasy complex ideas that started a simple little vivid whirl of contiguity and cause, and have become something rather different for a mind.

52)                 Events age then a part of the sceptics if, and yet a part they are aware of that really only being the minute I in my body and according to whatever organs I already have within it, demand more to the world that reality allows. I demand then that my own ability to make intensity matter, and inhabit the world that results (for good or ill).

53)                  A world where the passions I thought we me are caught up in a change of their own.

54)                 a world where everything the shifts, including the ability to hold or feel the one world.

55)                  a world where time as such gives way to those tenses, those relation to the world passion bred, and the relation to those passions.

56)                 And yet, and yet, and yet, Hume the moralist insists we ought to realize at just this point that reality has not done with us.

57)                  I make my own world and yet I do not make it in the circumstances of my choosing, their are also their, also making their own world (others which include also myself in other times an as  moral individual).

58)                  Worlds are not then one handed affairs: this is not mere bricolage.

59)                 O the contrary in making my world I need also to have an eye to others and their world. It s this eye that offer, for Hume the greatest hope of humanity.

60)                  It is not enough to b here and how making this world, one also has to allow that one is always making this world with other an for others. One is never simple making it one own.

61) This pitching then with these other builder in passions, of a world opens out to morality.

62)                  The moral is the union of building-  it s the sense hat we are already all building the same world.

63)                 The union is then the creation a world as fit were the bets of all possible; that is the building of a world as if we were all in it together, all caught up in the same construction – a construction which would be shared in the minds of man and god. To be with others, is then in that every to propose a notional (and only ever empirical) unity of elements: a world, this world is being built be us all:  it is the same world, or rather if we behave morally a least it is the same word.

64)                 The problem of humanity is then that all too often we forget this? we build merely our own (or our families) world, an forget these others always are their building their own. we loose then in the use of the world we make, and cannot be reminded.

65)                  The with others in it, becomes then the point of unity in Hume beyond world  as such – the notion impossible point all world meet in the mind of a Leibniz or an empirical God (defend in a mind, and choosing the best).

66)                  To build the one world and to act morally become given in the same breadth.

67)                 And yet here is the rub, how does one do this?

68)                 It is easy to see how one allows that one is perceiving within the world, as a part of it; it is easy to understand ones passions as a part of the world they make (and so elements that pitch one in the building of a world also which it in a different voice0. It is easy to understand then how as a finite whirl of limited things, one ends up pitching a world within which one is (and all parts of ones mind are facets of and for); and yet allowing other in to hat world? Pitching it is chorus or union? That is a much harder topic, and one that takes one right of exist and the middle in another.