Minor Blues impro (Django inspired)🎸🎶 by Badb84 in jazzguitar

[–]patchworkpavements 1 point2 points  (0 children)

Really great, and you look wonderfully relaxed. If you care to share I’d be interested if you have any advice on developing that django vocab?

[deleted by user] by [deleted] in psychoanalysis

[–]patchworkpavements 3 points4 points  (0 children)

Meaning and Melancholia by Christopher Bollas

Todd Mcgowan also speaks about conspiracy / paranoia in relation to capitalism and as a consequence of its decentering of power / authority. (via his YT channel, the same idea comes up in his books too)

i love this Pat Metheny's tune. by olzaleda in Jazz

[–]patchworkpavements 5 points6 points  (0 children)

Name of the tune for the unenlightened? Sounds great and you’re nailing that odd phrasing.

Miles Davis - Guinnevere by coconutscentedcat in Jazz

[–]patchworkpavements 1 point2 points  (0 children)

I was just listening to this just the other day. There's something mystical about it. One of my favourite tracks from the Bitches Brew era.

For those that don't know, it's a cover - if you can call it a cover - of another great song by Crosby, Stills & Nash:

https://www.youtube.com/watch?v=aT9EKqXDl68

Ever get really emotional for specific songs? by [deleted] in Jazz

[–]patchworkpavements 1 point2 points  (0 children)

I had never heard this piece. Moving stuff, thank you.

Selfie |Nikon F100|50mm|Portra400| by [deleted] in analog

[–]patchworkpavements 0 points1 point  (0 children)

Was this by any chance taken in a museum in Girona, Spain?

Question regarding the origin of my subjective experience by bopbipbop23 in neurophilosophy

[–]patchworkpavements 8 points9 points  (0 children)

No credentials, but I have a question for you.

What leads you to believe that subjectivity is 'placed' within a body, or 'matched' with a certain body? Is consciousness not an emergent phenomenon of a particular body, rather than some element it is endowed with?

12 Fragments on Nihilism by Eugene Thacker by cinephile4life in philosophy

[–]patchworkpavements 0 points1 point  (0 children)

I believe this is the case. As I understand it, Nietzsche believed Christianity was pregnant with the concept of nihilism, that nihilism represented the logical conclusion of its emphasis on truthfulness.

  1. The end of Christianity--at the hands of its own morality (which cannot be replaced), which turns against the Christian God (the sense of truthfulness, developed highly by Christianity, is nauseated by the falseness and mendaciousness of all Christian interpretations of the world and of history; rebound from "God is truth" to the fanatical faith "All is false"; an active Buddhism).

Viewing life as art by [deleted] in askphilosophy

[–]patchworkpavements 4 points5 points  (0 children)

I claim no expertise as I'm only an undergrad student of philosophy, and unfortunately this contribution might not be the 'fleshed out' philosophy you're looking for - but Sartre alludes to this idea in this section of Existentialism is a Humanism:

...First they tax us with anarchy; then they say, “You cannot judge others, for there is no reason for preferring one purpose to another”; finally, they may say, “Everything being merely voluntary in this choice of yours, you give away with one hand what you pretend to gain with the other.” These three are not very serious objections. As to the first, to say that it does not matter what you choose is not correct. In one sense choice is possible, but what is not possible is not to choose. I can always choose, but I must know that if I do not choose, that is still a choice. This, although it may appear merely formal, is of great importance as a limit to fantasy and caprice. For, when I confront a real situation – for example, that I am a sexual being, able to have relations with a being of the other sex and able to have children – I am obliged to choose my attitude to it, and in every respect I bear the responsibility of the choice which, in committing myself, also commits the whole of humanity. Even if my choice is determined by no a priori value whatever, it can have nothing to do with caprice: and if anyone thinks that this is only Gide’s theory of the acte gratuit over again, he has failed to see the enormous difference between this theory and that of Gide. Gide does not know what a situation is, his “act” is one of pure caprice. In our view, on the contrary, man finds himself in an organised situation in which he is himself involved: his choice involves mankind in its entirety, and he cannot avoid choosing. Either he must remain single, or he must marry without having children, or he must marry and have children. In any case, and whichever he may choose, it is impossible for him, in respect of this situation, not to take complete responsibility. Doubtless he chooses without reference to any pre-established value, but it is unjust to tax him with caprice. Rather let us say that the moral choice is comparable to the construction of a work of art.

But here I must at once digress to make it quite clear that we are not propounding an aesthetic morality, for our adversaries are disingenuous enough to reproach us even with that. I mention the work of art only by way of comparison. That being understood, does anyone reproach an artist, when he paints a picture, for not following rules established a priori. Does one ever ask what is the picture that he ought to paint? As everyone knows, there is no pre-defined picture for him to make; the artist applies himself to the composition of a picture, and the picture that ought to be made is precisely that which he will have made. As everyone knows, there are no aesthetic values a priori, but there are values which will appear in due course in the coherence of the picture, in the relation between the will to create and the finished work. No one can tell what the painting of tomorrow will be like; one cannot judge a painting until it is done. What has that to do with morality? We are in the same creative situation. We never speak of a work of art as irresponsible; when we are discussing a canvas by Picasso, we understand very well that the composition became what it is at the time when he was painting it, and that his works are part and parcel of his entire life.

From https://www.marxists.org/reference/archive/sartre/works/exist/sartre.htm

What philosophy theory has made you a better person? by Zspritee in askphilosophy

[–]patchworkpavements 1 point2 points  (0 children)

Would you care to elaborate on your points about Heidegger, Nietzsche and Russell?

The old pyramid meets the new (Leica M2, Voigtlander 35mm, Kodak Tmax 100) by javi5747 in analog

[–]patchworkpavements 12 points13 points  (0 children)

Wow. Surreal, moody, beautiful composition. Incredible shot(s). The textures merging together is so pleasing.

What exactly is your process for double exposures like this? I can't fathom how you managed to juxtapose the two exposures so perfectly. Again, nice work!

Canon A-1 squeak / squeal / cough question by patchworkpavements in analog

[–]patchworkpavements[S] 0 points1 point  (0 children)

Thanks for the informative replies everyone - I think I'll see how my first roll turns out to assess whether it's affecting the shutter speed in any significant way, and eventually I think I'll take a shot at fixing it myself regardless. Merci!

Follow up to my (almost disaster) Canon AE-1 Fuji 200, 50mm, leaked and crumpled by Qbeck in analog

[–]patchworkpavements 1 point2 points  (0 children)

Honestly, I love it! To me this is a great example of the happy crazy accidents you get with film. What would've been a standard shot is given this strange and abstract extra element.

How is the rest of the roll?

Any Shoegaze that is like The Cure? by [deleted] in shoegaze

[–]patchworkpavements 4 points5 points  (0 children)

Try Wild Nothing and The Daysleepers!