ellauri082.html on line 507: "A motion became a feeling!—no phrase that our lips can frame is so devoid of apprehensible meaning." (Says Spencer - check out this guy.) And some Tyndall guy that everyone knew by heart in late 19th: "the passage from the physics of the brain to the corresponding facts of consciousness is unthinkable." (Nothing to it except fear of death and retribution. Funny but seriously I have never seen anything the matter with it. Your mind is like a little video camera connected to a bunch of neural networks that mill the images around. Whats wrong with this concept is hard for me to see.)
ellauri083.html on line 244: frame width="252" height="190" src="https://www.youtube.com/embed/Rcvo4U33_L4" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri083.html on line 245: frame width="338" height="190" src="https://www.youtube.com/embed/aM3xAjRXWLI" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri083.html on line 246: frame width="338" height="190" src="https://www.youtube.com/embed/SdIaEQCUVbk" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri083.html on line 406: frame width="676" height="380" src="https://www.youtube.com/embed/wGXBSqvKdX0" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri083.html on line 494: frame width="320" height="180" src="https://www.youtube.com/embed/KOdqHRO5A6c" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri083.html on line 514: I will tell you why; so shall my anticipation prevent your discovery, and your secrecy to the King and Queen moult no feather. I have of late, but wherefore I know not, lost all my mirth, forgone all custom of exercises; and indeed, it goes so heavily with my disposition that this goodly frame the earth, seems to me a sterile promontory; this most excellent canopy the air, look you, this brave o’erhanging firmament, this majestical roof fretted with golden fire, why, it appears no other thing to me than a foul and pestilent congregation of vapours. What a piece of work is man! How noble in reason? How infinite in faculties, in form and moving, how express and admirable? In action how like an angel? In apprehension, how like a god? The beauty of the world, the paragon of animals. And yet, to me, what is this quintessence of dust? Man delights not me; no, nor woman neither, though by your smiling you seem to say so.
ellauri088.html on line 108: frame width="676" height="380" src="https://www.youtube.com/embed/2ZksQd2fC6Y" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri089.html on line 77: Heinlein used his science fiction to earn money and as a way to explore his provocative social and political ideas, and to speculate how progress in science and engineering might shape the future of politics, race, religion, and sex. Within the framework of his science-fiction stories, Heinlein repeatedly addressed certain social themes: the importance of being earnest, individual liberty and self-reliance, the nature of incestual sexual relationships, the obligation individuals owe to their societies, the influence of organized religion on culture and government, and the tendency of society to repress nonconformist thought. He also speculated on the influence of space travel on human cultural practices.
ellauri093.html on line 882: frame width="320" height="180" src="https://www.youtube.com/embed/fGGACORCbBc" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri094.html on line 444: frame width="640" height="360" src="https://www.youtube.com/embed/BXf1j8Hz2bU" title="The Melodians - "Rivers Of Babylon" (Official Audio)" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen>frame>
ellauri095.html on line 385: frame width="675" height="380" src="https://www.youtube.com/embed/NlxDfJQHE-Q" title="Pulkkinen - Sequoija" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen>frame>
ellauri096.html on line 40: frame width="676" height="380" src="https://www.youtube.com/embed/BxAfDlxbfVk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri096.html on line 163: Epistemic paradoxes affect decision theory because rational choices are based on beliefs and desires. If the agent cannot form a rational belief, it is difficult to interpret his behavior as a choice. The purpose of attributing beliefs and desires is to set up practical syllogisms that make sense of actions as means to ends. Subtracting rationality from the agent makes framework useless. Given this commitment to charitable interpretation, there is no possibility of your rationally choosing an option that you believe to be inferior. So if you choose, you cannot really believe you were operating as an anti-expert, that is, someone whose opinions on a topic are reliably wrong (Egan and Elga 2005).
ellauri097.html on line 57: frame width="480" height="360" src="https://www.youtube.com/embed/ov6OwblYV-Q" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri098.html on line 756: frame width="676" height="380" src="https://www.youtube.com/embed/REUukm_WQJI" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri099.html on line 40: frame width="640" height="360" src="https://www.youtube.com/embed/eXJUl7BAaAw" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri101.html on line 471: frame width="640" height="360" src="https://www.youtube.com/embed/VR0ck3v3x8Q" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri102.html on line 379: frame width="613" height="345" src="https://www.youtube.com/embed/Tort288wZEo" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri106.html on line 138: frame width="306" height="173" src="https://www.youtube.com/embed/rQNF3LwHkvQ" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri107.html on line 204: Coverdale notes that "there was something of the woman moulded into the great, stalwart frame of Hollingsworth; nor was he ashamed of it, as men often are of what is best in them, nor seemed ever to know that there was such a soft place in his heart. . . . I besought Hollingsworth to let nobody else enter the room, but continually to make me sensible of his own presence by a grasp of the hand, a word, -- a prayer, if he thought good to utter it . . . ."
ellauri108.html on line 53: frame width="740" height="370" src="https://www.youtube.com/embed/Ee0xfqI6n34" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri108.html on line 84: frame width="613" height="345" src="https://www.youtube.com/embed/ebtqoKHyHzk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri108.html on line 197: Rastafari owed much to intellectual frameworks arising in the 19th and early 20th centuries. One key influence on Rastafari was Christian Revivalism, with the Great Revival of 1860–61 drawing many Afro-Jamaicans to join churches. Increasing numbers of Pentecostal missionaries from the United States arrived in Jamaica during the early 20th century, climaxing in the 1920s.
ellauri109.html on line 39: frame width="640" height="360" src="https://www.youtube.com/embed/o-RSsxa7B6w" title="10 Promis, die bei unfassbaren Dingen erwischt wurden" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen>frame>
ellauri117.html on line 559: The Liver body type is governed by the body’s inability to process an overconsumption of alcohol or processed foods. The Liver body type is characterized most significantly as someone who has a “beer belly,” or who stores all of their weight in their front midsection. The weight will be disproportionate to the rest of their body, and distend out far beyond the rest of their frame.
ellauri117.html on line 608: Maxa-Shaftesburyn (1621-1683) pojanpoika, 3. Earl of Shaftesbury (1671—1713) oli mieltä että: Hobbes had set the agenda of British moral philosophy (a search for the grounding of universal moral principles), and Locke had established its method (empiricism). Shaftesbury’s important contribution was to focus that agenda by showing what a satisfactory response to Hobbes might look like but without giving up too much of Locke’s method. Shaftesbury showed the British moralists that if we think of moral goodness as analogous to beauty, then (even within a broadly empiricist framework) it is still possible for moral goodness to be non-arbitrarily grounded in objective features of the world and for the moral agent to be attracted to virtue for its own sake, not merely out of self-interest. In Shaftesbury’s aesthetic language, the state of having the morally correct motives is the state of being “morally beautiful,” and the state of approving the morally correct motives upon reflection is the state of having “good moral taste.” Shaftesbury argues that the morally correct motives which constitute moral beauty turn out to be those motives which are aimed at the good of one’s society as a whole. This good is understood teleologically. Furthermore Shaftesbury argues that both the ability to know the good of one’s society and the reflective approval of the motivation toward this good are innate capacities which must nevertheless be developed by proper socialization.
ellauri119.html on line 107: frame width="382" height="215" src="https://www.youtube.com/embed/e5hRPy-pDsY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri119.html on line 596: frame width="493" height="277" src="https://www.youtube.com/embed/ouBZ-YqOnsU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri119.html on line 755: frame width="493" height="277" src="https://www.youtube.com/embed/n-kXok4tznU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri131.html on line 41: frame width="640" height="360" src="https://www.youtube.com/embed/52ncpxK3KbE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri133.html on line 839: frame width="640" height="360" src="https://www.youtube.com/embed/0HhRkrKa4-8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri140.html on line 214: frame width="676" height="380" src="https://www.youtube.com/embed/8kj9qv6rmG8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri140.html on line 716: (Let none them read) thereof did verses frame, (löröä, älä tee!) rakenteli loruja,
ellauri142.html on line 57: frame width="480" height="360" src="https://www.youtube.com/embed/tW2E1tW0r6c" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri142.html on line 204: frame width="676" height="380" src="https://www.youtube.com/embed/73xTGDml0bg" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri142.html on line 611: Starting either from religious belief or from science, Spencer argued, we are ultimately driven to accept certain indispensable but literally inconceivable notions. Whether we are concerned with a Creator or the substratum which underlies our experience of phenomena, we can frame no conception of it. Therefore, Spencer concluded, religion and science agree in the supreme truth that the human understanding is only capable of 'relative' knowledge. This is the case since, owing to the inherent limitations of the human mind, it is only possible to obtain knowledge of phenomena, not of the reality ('the absolute') underlying phenomena. Hence both science and religion must come to recognise as the 'most certain of all facts that the Power which the Universe manifests to us is utterly inscrutable.' He called this awareness of 'the Unknowable' and he presented worship of the Unknowable as capable of being a positive faith which could substitute for conventional religion. Indeed, he thought that the Unknowable represented the ultimate stage in the evolution of religion, the final elimination of its last anthropomorphic vestiges.
ellauri142.html on line 820: frame width="640" height="360" src="https://www.youtube.com/embed/axDOQbo20iE" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri143.html on line 146: frame width="676" height="380" src="https://www.youtube.com/embed/hxhC7XTdtnc" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri144.html on line 199: frame width="392" height="222" src="https://www.youtube.com/embed/7S9Z1KD6QSs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri144.html on line 209: frame width="676" height="380" src="https://www.youtube.com/embed/6jl9bkhLH3A" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri144.html on line 212: frame width="412" height="232" src="https://www.youtube.com/embed/cbKQujrpDKQ" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri144.html on line 213: frame width="307" height="232" src="https://www.youtube.com/embed/ilD2IewuYCY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri144.html on line 303: frame width="456" height="345" src="https://www.youtube.com/embed/CbcWBWxA3gI" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri144.html on line 304:
ellauri144.html on line 872: frame width="640" height="360" src="https://www.youtube.com/embed/5k0Sf01YpMI" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen>frame>
ellauri145.html on line 526: Heidegger’s analysis of Nietzsche is entirely inauthentic. He alleges that Nietzsche merges a metaphysics of force with a Marxist analysis of labor to create a technological metaphysics of domination - however, Nietzsche’s analysis of force was completely counter to Marx’s and the marriage of Nietzsche and Marx is not Nietzsche, but is rather National Socialism, and the philosophical framework of this marriage is none other than Being and Time.
ellauri152.html on line 64: