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The universe of being is subject to changes in its periodical manifestations. Man is the little universe (Microcosm) made in the image of his creator, the Great Universe (Macrocosm). The matter composing the objects we see and touch, continually returns to its pre-primordial condition of purity and light, which no mortal eye can see or bear its radiance. The man of clay was the first human being to appear on earth, the animal kingdoms coming after him. Animals were “created” much later than Adam, and brought to him to be named. Their bodies have been formed out of the cast off atoms of human life-waves that preceded ours. The constitution of man is seven-fold: his Immortal Higher Triad (Divine Self or Spiritual Soul) is his True Individuality; his Lower Tetrad, overshadowed by the Divine Self, is the false individuality (I-ness or “personality”) or soul of the man of clay who, being of the earth earthly, his animal soul and body are perishable — though his molecules are thrown off for the benefit of lower kingdoms. Nirvana is an actionless yet impersonal subjective state, rooted in non-being, and a refuge against rebirth — but the nirvanee can no longer return to earth, should he change his mind. Nirvana is illusion for it does not exist for us. The immortality of Spirit is inculcated on the neophyte by the Hierophant, and realised during Initiation. At the solemn moment of death, no man can fail to see himself under his true colours, and no self-deception is of use to him any longer. Even when drowning, man follows with his mind’s eye the whole of his life marshalling past, with all its events (causes and effects) to the minutest detail, and sees himself as he truly is, in all his moral nakedness, unadorned by either human flattery or self-adulation.
The book contains popular expositions (accessible to readers with no more than a high school mathematics background) on the mathematical theory of infinity, and a number of related topics. These include G?del's incompleteness theorems and their relationship to concepts of artificial intelligence and the human mind, as well as the conceivability of some unconventional cosmological models. The material is approached from a variety of viewpoints, some more conventionally mathematical and others being nearly mystical. There is a brief account of the author's personal contact with Kurt G?del.An appendix contains one of the few popular expositions on set theory research on what are known as "strong axioms of infinity."
Published to accompany exhibition held at the Centre Georges Pompidou, Paris 22/5 - 26/8 1996.
A page-turning novel that is also an exploration of the great philosophical concepts of Western thought, Jostein Gaarder's Sophie's World has fired the imagination of readers all over the world, with more than twenty million copies in print. One day fourteen-year-old Sophie Amundsen comes home from school to find in her mailbox two notes, with one question on each: "Who are you?" and "Where does the world come from?" From that irresistible beginning, Sophie becomes obsessed with questions that take her far beyond what she knows of her Norwegian village. Through those letters, she enrolls in a kind of correspondence course, covering Socrates to Sartre, with a mysterious philosopher, while receiving letters addressed to another girl. Who is Hilde? And why does her mail keep turning up? To unravel this riddle, Sophie must use the philosophy she is learning—but the truth turns out to be far more complicated than she could have imagined.
Famed historian of religion Mircea Eliade observes that even moderns who proclaim themselves residents of a completely profane world are still unconsciously nourished by the memory of the sacred. Eliade traces manifestations of the sacred from primitive to modern times in terms of space, time, nature, and the cosmos. In doing so he shows how the total human experience of the religious man compares with that of the nonreligious. This book serves as an excellent introduction to the history of religion, but its perspective also emcompasses philosophical anthropology, phenomenology, and psychology. It will appeal to anyone seeking to discover the potential dimensions of human existence. -- P. [4] of cover.
Hendrik Petrus Berlage, the Dutch architect and architectural philosopher, created a series of buildings and a body of writings from 1886 to 1909 that were among the first efforts to probe the problems and possibilities of modernism. Although his Amsterdam Stock Exchange, with its rational mastery of materials and space, has long been celebrated for its seminal influence on the architecture of the 20th century, Berlage's writings are highlighted here. Bringing together Berlage's most important texts, among them "Thoughts on Style in Architecture", "Architecture's Place in Modern Aesthetics", and "Art and Society", this volume presents a chapter in the history of European modernism. In his introduction, Iain Boyd Whyte demonstrates that the substantial contribution of Berlage's designs to modern architecture cannot be fully appreciated without an understanding of the aesthetic principles first laid out in his writings.
It seems that the wish to benefit all, and to lavish indiscriminately upon the first comer one’s own gifts, was not a thing altogether commendable, or even free from reproach in the eyes of the many; seeing that the gratuitous waste of many prepared drugs on the incurably-diseased produces no result worth caring about, either in the way of gain to the recipient, or reputation to the would-be benefactor. Rather such an attempt becomes in many cases the occasion of a change for the worse. The hopelessly-diseased and now dying patient receives only a speedier end from the more active medicines; the fierce unreasonable temper is only made worse by the kindness of the lavished pearls, as the Gospel tells us. I think it best, therefore, in accordance with the Divine command, for any one to separate the valuable from the worthless when either have to be given away, and to avoid the pain which a generous giver must receive from one who treads upon his pearl,’ and insults him by his utter want of feeling for its beauty.
Beyond Vision is the first English-language collection of essays on art by Pavel Florensky (1882–1937), Russian philosopher, priest, linguist, scientist, mathematician – and art historian. In addition to seven essays by Florensky, the book includes a biographical introduction and an examination of Florensky’s contribution as an art historian by Nicoletta Misler. Beyond Vision reveals Florensky’s fundamental attitudes to the vital questions of construction, composition, chronology, function and destination in the fields of painting, sculpture and design. His reputation as a theologian and philosopher is already established in the English-speaking world, but this first collection in English of his art essays (translated by Wendy Salmond) will be a revelation to those in the field. Pavel Florensky was a true polymath: trained in mathematics and philosophy at Moscow University, he rejected a scholarship in advanced mathematics in order to study theology at the Moscow Theological Academy. He was also an expert linguist, scientist and art historian. A victim of the Soviet government’s animosity towards religion, he was condemned to a Siberian labor camp in 1933 where he continued his work under increasingly difficult circumstances. He was executed in 1937.
With the rise of science, we moderns believe, the world changed irrevocably, separating us forever from our primitive, premodern ancestors. But if we were to let go of this fond conviction, Bruno Latour asks, what would the world look like? His book, an anthropology of science, shows us how much of modernity is actually a matter of faith. What does it mean to be modern? What difference does the scientific method make? The difference, Latour explains, is in our careful distinctions between nature and society, between human and thing, distinctions that our benighted ancestors, in their world of alchemy, astrology, and phrenology, never made. But alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology, and nature. The ozone debate is such a hybrid, in Latour’s analysis, as are global warming, deforestation, even the idea of black holes. As these hybrids proliferate, the prospect of keeping nature and culture in their separate mental chambers becomes overwhelming—and rather than try, Latour suggests, we should rethink our distinctions, rethink the definition and constitution of modernity itself. His book offers a new explanation of science that finally recognizes the connections between nature and culture—and so, between our culture and others, past and present. Nothing short of a reworking of our mental landscape, We Have Never Been Modern blurs the boundaries among science, the humanities, and the social sciences to enhance understanding on all sides. A summation of the work of one of the most influential and provocative interpreters of science, it aims at saving what is good and valuable in modernity and replacing the rest with a broader, fairer, and finer sense of possibility.