THE LIGHT IS RISING NOW RISING IS THE LIGHT
ADVENT 931 ADVENT
NORTH EAST WEST SOUTH 5+6+9+2+8 5+1+1+2 5+5+1+2 1+6+3+2+8 NORTH+EAST+ WEST+ SOUTH 5+6+9+2+8 5+1+1+2 5+5+1+2 1+6+3+2+8 NORTH+EAST+ WEST+ SOUTH
MAGUS MAGNIFICENT MAGI MAGIC C MAGIC MAG I MAGIC INTO IMAGE SEE IMAGE INTO MAGIC IMAGERS CREATORS GODS CREATORS IMAGERS
MAM CHILD DAD CHILDRENNERDLIHC MAM CHILD DAD
I ME THE MILKY WAY BE RA FEAST RA BE BORN AM I ME I AM BORN
HEARKEN A MYSTERIOUS VOICE IN THE NIGHT WHO SHALL I SEND SEND SEND ME YOU YOU YOU GO DO THAT I THAT DO GO
I SAY TRY SPIRITUALITY SPIRITUALITY TRY WOW SAY I SAY WOW WOW !
SPIRITUAL IS AS SPIRITUAL DOES GO DO GOOD GOD DOES ALWAYS
Individuation (Latin: principium Individuationis) is a concept which appears in numerous fields and may be encountered in work by Gilbert Simondon, ... en.wikipedia.org/wiki/Individuation Individuation (Latin principium Individuationis) is a concept which appears in numerous fields and may be encountered in work by Gilbert Simondon, Bernard Stiegler, Gilles Deleuze, Henri Bergson, David Bohm, and Manuel De Landa. In very general terms, it is the name given to processes whereby the undifferentiated tends to become individual, or to those processes through which differentiated components tend toward becoming a more indivisible whole. Friedrich Nietzsche, for example, offers an extensive discussion of the tension between impartial, chaotic fluidity and individuated subjectivity in The Birth of Tragedy (1872), whereby Dionysian dismemberment and Apollonian individuation respectively embody these dichotomous qualities. Nietzsche claims that the perpetual, irresolvable tension between these two opposing aspects of nature fosters the conditions necessary for their uneasy synthesis in the creation of tragic art. In economics, individuation parallels specialization and increases the efficiency of the division of labor. It serves as a means for individuals to find comparative advantage in the marketplace. Contents[hide]
1 Carl Jung on individuation
2 Gilbert Simondon on individuation
3 Bernard Stiegler on individuation
4 Media Industry use of Individuation
5 References
6 Bibliography [edit] Carl Jung on individuation In Jungian psychology individuation is a process of psychological differentiation, having for its goal the development of the individual personality. "In general, it is the process by which individual beings are formed and differentiated; in particular, it is the development of the psychological individual as a being distinct from the general, collective psychology." [1] Individuation is the process of transforming one’s psyche by bringing the personal and collective unconscious into conscious.[2] Individuation has a holistic healing effect on the person, both mentally and physically.[2] People who have achieved individuation, besides being physically and mentally healthy, they are harmonious, mature and responsible. They promote freedom and justice. They have a good understanding about the workings of human nature and the universe.[3] [edit] Gilbert Simondon on individuation In L'individuation psychique et collective, Gilbert Simondon developed a theory of individual and collective individuation, in which the individual subject is considered as an effect of individuation, rather than a cause. Thus the individual atom is replaced by the neverending ontological process of individuation. Simondon also conceived of "pre-individual fields" as the funds making individuation itself possible. Individuation is an always incomplete process, always leaving a "pre-individual" left-over, itself making possible future individuations. Furthermore, individuation always creates both an individual and a collective subject, which individuate themselves together. [edit] Bernard Stiegler on individuation The philosophy of Bernard Stiegler draws upon and modifies the work of Gilbert Simondon on individuation, as well as similar ideas in Friedrich Nietzsche and Sigmund Freud. During a talk given at the Tate Modern in 2004, Stiegler summarized his understanding of individuation. The essential points are the following: The I, as a psychic individual, can only be thought in relationship to a we, which is a collective individual: the I is constituted in adopting a collective tradition, which it inherits, and in which a plurality of Is acknowledge each other’s existence.
This inheritance is an adoption in that I can very well, as the French grandson of a German immigrant, recognize myself in a past that was not the past of my ancestors, but that I can make my own; this process of adoption is thus structurally factical.
An I is essentially a process, and not a state, and this process is an in-dividuation (it is a process of psychic individuation) as the tendency to become-one, that is, to become indivisible.
This tendency never accomplishes itself because it runs into a counter-tendency with which it forms a metastable equilibrium (it must be pointed out how close this conception of the dynamic of individuation is to the Freudian theory of drives, but also to the thinking of Empedocles and of Nietzsche).
A we is also such a process (the process of collective individuation); the individuation of the I is always inscribed in that of the we, whereas conversely, the individuation of the we takes place only through those individuations, polemical in nature, of the Is making it up.
That which links the individuations of the I and the we is a pre-individual milieu possessing positive conditions of effectiveness, belonging to what Stiegler calls retentional apparatuses. These retentional apparatuses arise from a technical milieu which is the condition of the encounter of the I and the we: the individuation of the I and the we is in this respect also the individuation of the technical system.
The technical system is an apparatus which has a specific role (wherein all objects are inserted: a technical object exists only insofar as it is disposed within such an apparatus with other technical objects: this is what Gilbert Simondon calls the technical group): the rifle, for example, and more generally the technical becoming with which it forms a system, are thus the possibility of the emergence of a disciplinary society, according to Michel Foucault.
The technical system is also that which founds the possibility of the constitution of retentional apparatuses, springing from the processes of grammatization growing out of the process of individuation of the technical system, and these retentional apparatuses are the basis for the dispositions between the individuation of the I and the individuation of the we in a single process of psychic, collective and technical individuation (where grammatization is a subset of technics) composed of three branches, each branching out into processual groups.
This process of triple individuation is itself inscribed in a vital individuation which must be apprehended by a general organology as the vital individuation of natural organs, the technological individuation of artificial organs, and the psycho-social individuation of organizations linking them together.
In the process of individuation constitutive of general organology wherein knowledge as such emerges, there are individuations of mnemo-technological sub-systems which over-determine, qua specific organizations of what Stiegler calls tertiary retentions, the organization, the transmission and the elaboration of knowledge stemming from the experience of the sensible. Stiegler is also concerned with the destructive consequences for psychic and collective individuation which may result from consumerism and consumer capitalism (see, for example, Stiegler, The Disaffected Individual). [edit] Media Industry use of Individuation The term Individuation has begun to be used within the media industries to denote new printing and online technologies that permit the mass customization of the contents of a newspaper, a magazine, a broadcast program, or a Web site so that the contents match each individual user's own unique mix of interests, unlike the Mass Media practice of producing the same contents for each and every reader, viewer, listener, or online user. [edit] References C.G. Jung. Psychological Types. Collected Works Vol.6., par. 757 a b Jung, C. G. (1962). Symbols of Transformation: An analysis of the prelude to a case of schizophrenia (Vol. 2, R. F. C. Hull, Trans.). New York: Harper & Brothers. Jung's Individuation process Retrieved on 2009-2-20 [edit] Bibliography Look up individuation in Wiktionary, the free dictionary. Gilbert Simondon, Du mode d'existence des objets techniques (Méot, 1958; Paris: Aubier, 1989, second edition). (French) Gilbert Simondon, On the Mode of Existence of Technical Objects, Part 1, link to PDF file of 1980 translation. Gilbert Simondon, L'individu et sa genèse physico-biologique (l'individuation à la lumière des notions de forme et d'information) (Paris: PUF, 1964; J.Millon, coll. Krisis, 1995, second edition). (French) Gilbert Simondon, The Individual and Its Physico-Biological Genesis, Part 1, link to HTML file of unpublished 2007 translation. Gilbert Simondon, The Individual and Its Physico-Biological Genesis, Part 2, link to HTML file of unpublished 2007 translation. Gilbert Simondon, L'Individuation psychique et collective (1964; Paris: Aubier, 1989). (French) Bernard Stiegler, Constitution and Individuation. Bernard Stiegler, Desire and Knowledge: The Dead Seize the Living. Bernard Stiegler, Nanomutations, Hypomnemata, and Grammatisation. Bernard Stiegler, Temps et individuation technique, psychique, et collective dans l’oeuvre de Simondon. (French) Second Annual Global Conference on the Individuated Newspaper, Denver, June 26-27, 2008. Retrieved from"http://en.wikipedia.org/wiki/Individuation"
Principium Individuationis - Principle of individuation. Apollo champions the unshaken faith in this principle of the individual. ... Principium Individuationis - Principle of individuation. Apollo champions the unshaken faith in this principle of the individual. Nietzsche contrasts this with the Dionysian immersion in the world will, in order to show how opposite those two art-deities really are. Implicit in the c oncept of the principium individuationis are the boundaries that separate men from the world and from each other. These boundaries are necessary in order to ensure the healthy functioning of society. When these boundaries begin to break down, we can be sure that Dionysus is near.
Schopenhauer's term, the principium individuationis, or 'principle of individuation', symbolizes man's separation from the chaos of life when under the ... www.sparknotes.com/philosophy/birthoftragedy/section1
The Birth of Tragedy Friedrich Nietzsche Forward & Chapter 1 Summary In his short Forward to Richard Wagner, Nietzsche anticipates criticisms that may be directed at his first philosophical work. He associates himself closely with Wagner, referring to "Our esthetic publicity." He also assures Wagner (and us) that he has written a serious treatise on a serious subject: art. Nietzsche cautions readers to avoid the temptation to see his essay as a mere comparison of "gay dilettantism" with "gallant earnestness." The real issue at stake here, he writes, is the much larger question of German hopes for the future. One must not dismiss the aesthetic question of art as simple or irrelevant; rather, it is at the core of the German national character, and may be its salvation.
Nietzsche directs this forward at those who are accustomed to thinking of aesthetics as a fringe discipline, a "merry diversion." Rather than being on the fringe, art is "the highest task and the proper metaphysical activity of this life." Nietzsche appeals to Wagner as "my noble champion on this same path," someone who will understand and support his devotion to the aesthetic cause.
Nietzsche then begins his essay by stating that progression in the field of art is inextricably bound with the Apollonian and Dionysian duality. In ancient times, there was a fierce opposition between Apollo and Dionysus, Gods whom he calls "the two art-deities of the Greeks." Nietzsche immediately establishes that he is outlining his philosophy in ancient, well-respected terms. The opposition between these two Greek gods is similar to the "perpetual strife" that exists between men and women; just as this strife must be resolved in order to procreate, so must the Dionysian and Apollonian elements come together to make the highest art. And, while their differences may be destructive, they are also necessary to the process.
One key set of oppositions that is linked to Apollo and Dionysus is that of dreams and drunkenness. The land of dreams, associated with Apollo, as a light filled space, a place where man enjoys "the immediate apprehension of form." It is in dreams that man is healed and helped and that man receives divine intuition. However, dream forms are often symbols or metaphors, which Nietzsche calls "appearance". He compares the aesthetic dreamer to the philosopher, who knows that what he sees is not real, but an "appearance" whose interpretation can lead to truth.
Apollo is the god of measured restraint; one who is dreaming will not be carried away and assume that what he sees is real. We never lose track of Apollo's beautiful appearance, and thus are able to ride calmly through the storms of life. Schopenhauer's term, the principium individuationis, or 'principle of individuation', symbolizes man's separation from the chaos of life when under the protective influence of Apollo.
In opposition to this principle of calm reason, there is Dionysus, who represents the collapse of the principium individuationis, the inability to discern the boundaries between appearance and reality. Thus, Dionysus is associated with drunkenness, or the forgetting of the self. Under the influence of Dionysus, there is a breakdown of the barriers between man and man, between man and Nature itself. It is in this state of diving ecstasy that man enters into the primordial unity, and is a member of a higher community.
Analysis
The Birth of Tragedy was Nietzsche's first philosophical work. He is thus determined in his forward to establish himself as someone with something serious to say about the German character and its relationship to the Greeks. As a young philosopher, Nietzsche takes the clever step of associating himself with Wagner, the great German composer of his day. By enlisting him as his ally, Nietzsche ensures that he will not be written off so easily as some starry-eyed student of aesthetics. He implies that if Wagner agrees with him that art is the highest task of life, then his readers should agree with him as well.
While Nietzsche ostensibly writes his forward for Wagner, it is clear that he writes it with the general public in mind. He suggests that serious readers, whom he calls "those earnest ones," will understand that questions of aesthetics are of the highest importance. By suggesting that anyone who does not take his work seriously is missing the point, Nietzsche plays off of the intellectual insecurities of his readers and gains their attention and respect.
From the beginning of his essay, Nietzsche makes it clear that he will be discussing aesthetics on his own terms. He creates a new frame of reference for his readers to understand art and the artistic process, that is, the dualistic opposition between Apollo and Dionysus. He thus lays the groundwork for discussing various affected states that are relevant to the artistic process, all of which relate to either Apollo or Dionysus. In doing so, he creates numerous oppositions that would not be logically apparent outside of his structure; for example, we do not ordinarily think of dreaming and drunkenness as being opposite states. But, under Nietzsche's program, they fall under the influence of Apollo and Dionysus respectively, and thus represent opposite energies.
After naming Apollo and Dionysus as the two opposing elements around which his argument (and art in general) revolves, Nietzsche proceeds with "duality" as his main metaphor for the artistic process. Apollo and Dionysus are merely the symbols of this duality, which, in this chapter, he elucidates in terms of dreams and drunkenness. For Nietzsche, dreams represent the realm of beautiful forms and symbols, an orderly place of light and appearance. Drunkenness, on the other hand, is that state of wild passions where the boundaries between "self" and "other" dissolve.
In his discussion of dreams, Nietzsche introduces terms that will reappear throughout the essay, such as "appearance" and "the apprehension of form." The idea of appearance is related to Plato's cave, to which Nietzsche makes reference when he writes that the dreamer sees life pass before him, "not like mere shadows on the wall—for in these scenes he lives and suffers—and yet not without that fleeting sensation of appearance." One has life-like experiences in ones dreams, but is still aware that these experiences are mere appearances and that the reality lies beneath. Nietzsche makes the assumption here that, when dreaming, one is always aware that one is dreaming; those who are entirely caught up in their dreams are not experiencing Apollonian beauty, but rather Dionysian ecstasy.
Whereas Apollo represents the state of "measured restraint," in which man remains separate from the emotions and illusions that buffet him, Dionysus represents the breakdown of those walls. From the progression of Nietzsche's analysis, we see that he does not view the Apollonian and the Dionysian realms equally, but rather sees the latter as the negation of the former. Dionysus enters the field when reason fails, not the other way around.
This is not to say that Nietzsche derides the Dionysian state; on the contrary, he sees it as fundamental to the creation of art. He gives the example of the singing and dancing crowds of the Germanic Middle Ages, who whirled in ecstatic celebration of St. John and St. Vitus. To those who would condemn this behavior as a symptom of "folk-diseases," he writes, "Such poor wretches can not imagine how anemic and ghastly their so-called 'healthy-mindedness' seems in contrast to the glowing life of the Dionysian revelers rushing past them." One must submit to Dionysian madness in order to attain the state of primordial unity, a state beyond social barriers and narrow thinking.
THE OUTSIDER Colin Wilson 1956 Page 127 THE PAIN THRESHOLD "Both experiences must be examined carefully and without prejudice. In a sense they were 'mystical experiences'. Normally Nietzsche was imprisoned in the 'thought-riddled nature'. These experiences point to an exaltation of Life. In Blake's phrase : Energy is eternal delight. 'Free powers without morality', 'pure Will'. Such phrases are the foundation of Nietzsche's philosophy, a memory of a mystical experience in which an unhealthy student saw a vision of complete health, free of his body's limitations, free of the stupidity of personality and thought. This was Nietzsche's profoundest knowledge. It is introduced into the first pages of his first book, The Birth of Tragedy, written when Nietzsche was a young professor at Basle University :
I SAY HALLOWED IS APOLLO APOLLO IS HALLOWED SAY I SAY I HALLOWED IS DIONYSUS IS HALLOWED I SAY
Principium Individuationis - Principle of individuation. Apollo champions the unshaken faith in this principle of the individual. ... Principium Individuationis - Principle of individuation. Apollo champions the unshaken faith in this principle of the individual. Nietzsche contrasts this with the Dionysian immersion in the world will, in order to show how opposite those two art-deities really are. Implicit in the c oncept of the principium individuationis are the boundaries that separate men from the world and from each other. These boundaries are necessary in order to ensure the healthy functioning of society. When these boundaries begin to break down, we can be sure that Dionysus is near.
Schopenhauer's term, the principium individuationis, or 'principle of individuation', symbolizes man's separation from the chaos of life when under the ... www.sparknotes.com/philosophy/birthoftragedy/section1
PRINCIPIUM INDIVIDUATIONIS
PRINCIPIUM INDIVIDUATIONIS
PRINCIPIUM INDIVIDUATIONIS
PRINCIPIUM INDIVIDUATIONIS
LETTERS TRANSCRIBED INTO NUMBERS REARRANGED IN NUMERICAL ORDER
I ME YOU YOU YOU MALE FEMALE I ME I FEMALE MALE
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