Jakeროცა ამერიკაში ვარ იქ ვყიდოლობ, როცა თბილისში ონლაინით. მტავარია საკრედიტო ბართი VISA ნიშნით და პრობლემა არაა.
ტბილისში წიგნი 2 კვირიდან ერთ თვემდე ჩამოდის, შიპინგის პრინციპებს გააჩნია.
* * *
Prof. Buxton''The Importance of Ubiquitous Media.''
"One of the tenets of Ubiquitous Computing is that it is inappropriate to channel all of your computational activities through a single workstation."
* * *
Werner Muensterberger '''Collecting: An Unruly Passion''
http://www.amazon.com/exec/obidos/ASIN/0156002531/alamutcom''We know from experience that the young child is only gradually prepared and able to hold on to his excretion. And then it may feel good "to collect the stuff and hold it for a while before passing it on." Winnicott refers here to a physiological action which under certain circumstances can contribute to a sense of mastery. But this is not simply mastery over one's bowels. The child soon learns that by holding on or opening up, he or she is in command."
Tim McLaughlin's ''Artificial Memory''
"If it is true that the purpose of individual memory is to survive the death of the moment, then it is equally true that the purpose of collective memory is to survive the death of the individual."
Oliver Wendell Holmes '''The Chambered Nautilus' (1858)
''Its webs of living gauze no more unfurl;
Wrecked is the ship of pearl!
And every chambered cell,
Where its dim dreaming life was wont to dwell,
As the frail tenant shaped his growing shell,
Before thee lies revealed,--
Its irised ceiling rent, its sunless crypt unsealed!''
''0 as in Opera''
'' "Deleuze turns to something that he and Felix Guattari developed, something that he considers a very important philosophical concept, the ritornello (a.k.a. the refrain), it's the point in common (between the popular song and music). For Deleuze, the ritornello is this common point. Deleuze suggests defining the ritornello as a little tune, 'tra-la-la-la.' When do I say 'tra-la-la?' Deleuze asks. He insists that he's doing philosophy in asking when does he sing to himself. On three occasions: he sings this tune when he is moving about in his territory, wiping off his furniture, radio playing in the background. So, he sings when he's at home. Then, he sings to himself when not at home at nightfall, at the hour of agony, when he's seeking his way, and needs to give himself courage by singing, tra-la-la. He's heading home. And he sings to himself when he says 'farewell, I am leaving, and I will carry you with me in my heart,' it's a popular song, and I sing to myself when I am leaving home to go somewhere else. In other words, Deleuze continues, the ritornello is absolutely linked -- which takes the discussion back to 'A - Animal' -- to the problem of the territory and of exiting or entering the territory, i.e. the problem of deterritorialization. I return to my territory or I try, says Deleuze, or I deterritorialize myself, i.e. I leave, I leave my territory."
* * *
2.From Stirner's 1842 essay, 'The False Principle of Our Education''
''"Because our time is struggling toward the word with which it may express its spirit, many names come to the fore and all make claim to being the right name. On all sides our present time reveals the most chaotic partisan tumult and the eagles of the moment gather around the decaying legacy of the past. There is everywhere a great abundance of political, social, ecclesiastical, scientific, artistic, moral and other corpses, and until they are all consumed, the air will not be clean and the breath of living beings will be oppressed."
"Without our assistance, time will not bring the right word to light; we must all work together on it. If, however, so much depends upon us, we may reasonably ask what they have made of us and what they propose to make of us; we ask about the education through which they seek to enable us to become the creators of that word. Do they conscientiously cultivate our predisposition to become creators or do they treat us only as creatures whose nature simply permits training?''
3.James McNeil Whistler '''The Gentle Art of Making Enemies''
"The artistic temperament is a disease that afflicts amateurs. It is a disease which arises from men not having sufficient power of expression to utter and get rid of the element of art in their being. It is healthful to every sane man to utter the art within him; it is essential to every sane man to get rid of the art within him at all costs. Artists of a large and wholesome vitality get rid of their art easily, as they breathe easily, or perspire easily. But in artists of less force, the thing becomes a pressure, and produces a definite pain, which is called the artistic temperament. Thus, very great artists are able to be ordinary men-- men like Shakespeare or Browning. There are many real tragedies of the artistic temperament, tragedies of vanity or violence or fear. But the great tragedy of the artistic temperament is that it cannot produce any art.''
"Whistler could produce art; and in so far he was a great man. But he could not forget art; and in so far he was only a man with the artistic temperament. There can be no stronger manifestation of the man who is a really great artist than the fact that he can dismiss the subject of art; that he can, upon due occasion, wish art at the bottom of the sea. Similarly, we should always be much more inclined to trust a solicitor who did not talk about conveyancing over the nuts and wine. What we really desire of any man conducting any business is that the full force of an ordinary man should be put into that particular study. We do not desire that the full force of that study should be put into an ordinary man. We do not in the least wish that our particular law-suit should pour its energy into our barrister's games with his children, or rides on his bicycle, or meditations on the morning star. But we do, as a matter of fact, desire that his games with his children, and his rides on his bicycle, and his meditations on the morning star should pour something of their energy into our law-suit. We do desire that if he has gained any especial lung development from the bicycle, or any bright and pleasing metaphors from the morning star, that the should be placed at our disposal in that particular forensic controversy. In a word, we are very glad that he is an ordinary man, since that may help him to be an exceptional lawyer."
4. Celia Green 'The Human Evasion'
"Society begins to appear much less unreasonable when one realizes its true function. It is there to help everyone to keep their minds off reality. This follows automatically from the fact that it is an association of sane people, and it has already been shown that sanity arises from the continual insertion of 'other people' into any space into which a metaphysical problem might intrude."
5. Mihaly Csikszentmihalyi ''Flow: the Psychology of Optimum Experience''
''It seems we can manage at most seven bits of information--such as differentiated sounds, or visual stimuli, or recognizable nuances of emotion or thought--at any one time, and that the shortest time it takes between one set of bits and another is about 1/18 of a second. By using this figure one concludes that it is possible to process at most 126 bits of information per second, or 7,560 per minute, or almost half a million per hour. Over a lifetime of seventy years, and counting sixteen hours of waking time each day, this amounts to about 185 billion bits of information. It is out of this total that everything in our life must come--every thought, memory, feeling, or action. It seems a huge amount, but in reality it doesn't go that far.
"The limitation of consciousness is demonstrated by the fact that to understand what another person is saying we must process 40 bits of information a second. If we assume the upper limit of our capacity to be 126 bits per second, it follows that to understand what three people are saying simultaneously is theorectically possible, but only by managing to keep out of consciousness every other thought or sensation. We couldn't, for instance, be aware of the speakers' expressions, nor could we wonder about whey they are saying what they are saying, or notice what they are wearing."
So what about value? If we know the maximum amount of attention that we can draw on--can we calculate what it's worth? How much do you value your own attention? How much is your attention worth?''
6. Rebecca's Pocket ''The Dream Society'
"Gentlemen, it was first suggested that we take our own image and examine how it could be made more portable. We found that simple binary coding systems were enough to contain the entire image however they required a large amount of storage space until it was found that the binary information could be written at the molecular level, and our entire image could be contained within a grain of sand. However it was found that these information molecules were not dead matter but exhibited a capacity for life which is found elsewhere in the form of virus. Our virus infects the human and creates our image in him.
"... This virus released upon the world would infect the entire population and turn them into our replicas, it was not safe to release the virus until we could be sure that the last groups to go replica would not notice. To this end we invented variety in many forms, variety that is of information content in a molecule, which, enfin, is always a permutation of the existing material. Information speeded up, slowed down, permutated, changing at random by radiating the virus material with high-energy rays from cyclotrons, in short we have created an infinity of variety at the information level, sufficient to keep so-called scientists busy forever exploring the 'richness of nature.'"
* * *
7. John Macquarrie, ''Existentialism''
8. Emmanuel Levinas, ''On Escape.''
9. Emmanuel Levinas, Totality and Infinity: An Essay on Exteriority.
10. The Weird and Wonderful World of Wills by Eamonn G. Mongey.
11.Sabine Baring-Gould, Strange Wills
''What a remarkable document a will is! It is the voice of a man now dead, coming back in the hush of a darkened house-from the vault, low and hoarse as an echo. It speaks, and people hearken; it commands, and people obey; law supports and enforces its wishes; no power on earth can alter it."
12. Nietzsche's 'The Case of Wagner'
13. Søren Kierkegaard, Excerpts from "The Present Age" (Nutiden)
''Action and decision is as scarce in the present age as peril is absent from shallow-water paddling. But just as the adult being tossed about delightfully by the waves calls to the younger person: "Come on, just jump into the deep water" - the decision likeways, so to speak, lies within existence (but in the individual, naturally), and shouts to the younger person not yet exhausted by an excess of reflection...: "Come on, jump boldly in." Even if it is a reckless leap, so long as it is decisive - if you have it in you to be a man, then the danger and life's stern judgement upon your recklessness will help you become one."
14. Ferrater Mora, 'On Miguel De Unamuno's Idea Of Reality'
''The abrupt is real, if 'abrupt' is understood, not as one of the many possible synonyms for 'harsh' and 'uneven,' but as denoting a mode of being characterized by discontinuity. Here the abrupt is, therefore, a kind of "leap." To a certain extent, it may be understood by analogy with the Kierkegaardian notion of Springet (leap, jump), which describes the movement of human existence as opposed to the dialectical process of Being in the Hegelian sense. Like the Kierkegaardian notion, the Unamunian intuition of "leap" is fiercely opposed to either continuity or to mediation. It is as remote from Hegelianism as it is from Leibnizianism. The real does not stretch out on a continuous line; it does not follow the pattern of evolution, either continuous or dialectical. There is no "sufficient reason" for its existence, nor is there any explanation of the course it follows. Instead of "reason" and "explanation" we have here--again, in a Kierkegaardian sense--"decision." This decision presupposes the acceptance of absurdity and paradox. And yet, the obvious analogies between the Kierkegaardian and the Unamunian notions of "leap" must not lead us to the conclusion that their meanings are interchangeable. Kierkegaard thought that the "leap" describes the behavior of human existence in the passage from one stage of life to another, and especially in the passage from the ethical stage to the religious. The Kierkegaardian notion of leap is thus comparable to one of those categories that Heidegger has called "existentials." On the other hand, Unamuno did not explicitly think of the leap as a category, whether existential or cosmic, but confined himself to describing the universe, and above all human beings, as if they were geological faults: layer upon layer without any apparent transition. Furthermore, whereas the leaps leading from one stage to another were conceived by Kierkegaard in such a way that every stage was supposed to be replaced by the ensuing one, we never find in Unamuno the idea, or even the intuition, that once a stage is attained all the preceding ones must be forgotten or dismissed."
· 
ვურჩიოთ ერთმანეთს წიგნები (კარგი წიგნები)
