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Why can not we think of life as if it were playing chess

My father taught me to play chess when I was a child. At first, of course, always lost. Then, slowly, I began to improve until the fateful game where I could beat him.
During the period when I was improved significantly (that summer, I remember, I read Dostoevsky's The Idiot) at a certain point I realized something. If I could make a "game plan", a strategy to get the win or just to earn a piece, often happened that the moves made to implement that strategy, attacking moves, were unknown to me too defensive moves who went to parry his attack plans against me. Always playing with in mind a "plan" (which was constantly reviewed, updated, rearrangement) to prevent possible dangers even ignoring them.
This confirms what I read in the preliminary indications of an ancient manual of chess (which I always had my father put in his hand): the author recommends "Never move without a purpose!" (Followed soon after moved casual remark that almost certainly weaken their position and make up lost time that the opponent can take advantage). This rule was immediately fascinated me, and I started to think if it were a rule that could also apply to life in general. At that period, as a boy, I was obsessed with the problem of finding general rules to follow to live in a better way.
The rule of life by pursuing a project or simply placing a rule of the goals is certainly worthy of attention for anyone in search of "formulas" for a good life. Wanting to follow the analogy with chess, we could say that if we pursue the project, if we set ourselves targets and act accordingly, our actions will lead to development of our being that may be helpful to respond to unforeseen situations.
Many years after the first experiences I mentioned at the beginning chess, studying philosophy is unbeatable in action theories (GH von Wright, Habermas, Bubner ...) I got interested in the matter. Aristotle defines an action as behavior aimed at achieving a certain goal. According to von Wright means to act intentionally causing a change in the world.
have an intention, a goal, seems to be part of the very concept of action, and action can be evaluated for their effectiveness with which it can achieve its purpose, or in respect of the rationality of the purpose for more (opens here all the discourse on practical rationality and ethics ...). An action is rational if effectively achieves its purpose. One goal is rational if it is consistent with the general aims, that is, if part of a coherent plan for improvement of their conditions (and, better yet, the conditions of all that surrounds us ...).
But let us ask ourselves: how far can always be useful act in a rational way? You can apply the general rule of chess, "Never move without a purpose!" their lives, turning it into "an action without ever end!"?
Sometimes there is no clear purpose for which we are doing something, but it's better that way. In certain contexts let "instincts" or "intuition" may be better to be guided by reason. What are these contexts?
Think about what would happen if making love to know exactly pretendessimo because we do one thing rather than another.
Another context in which the act rationally may be blocking or counterproductive is that of a relaxed and intimate conversation between friends or between partners, where beauty is just the "letting oneself be" mental associations, even having the ability to follow those the other (as do the fun in lovemaking is not only follow their own desires but also be able to hear and follow those of the partner). Something similar occurs in the communication between patient and therapist in a psychoanalytically oriented psychotherapy or simply in the so-called "active listening" to all his relations help.
There is an entire field of situations in which having a specific objective can be counterproductive. I think of the artistic creation, but also to some extent in scientific research. In these contexts, as far as I know, is part often with vague ideas, insights, problems to solve that you do not know the solution. You work on this very vagueness, the idea of \u200b\u200bsomething that we want to communicate but that is not clear to ourselves, a riddle that haunts us, on a node that we can not resolve. The solution, the work accomplished, the road is built by, without first knowing exactly where will lead our work (he had already theorized Plato when he raised the issue of sophistry can not answer the question on the quest for knowledge: if I already know I do not need to know, I do not know if I do not know what to look for, and he responded with his theory of knowing how to remember ...).
A final (but no less important!) Context is that of heuristic dialogue thus established by Franca D'Agostini poisoned Truth, "you have a dialogue when A heuristic maintains pe B supports not-p, and A and B are interested in ascertaining the truth, then you compare, not so much as to have reason to know who is right and what is the best reason. " This kind of dialogue is essential when dealing with disputes over values, cultural differences that lead to confrontations between cultures. Issues are typical of non-violent conflict management theories (Gandhi, Capitini, Galtung, Patfoort and others) but also of the hermeneutic tradition (which has always Franca D'Agostini "distillate" some basic rules in his recent Truth poisoned )

Maybe then we could return to the issue of the "Never move without a purpose!" and say that if we want to apply it to life we \u200b\u200bhave to keep turning it into "No action without awareness of the meaning."
free and creative in its relations with others, in contexts where we exercise our freedom and creativity we can (must) give up the idea for a stated purpose, a clear action plan, and accept the idea of \u200b\u200baction without purpose, or for a purpose not clear, however, despite the clear sense of what we're doing, even just for distinguish it from other contexts in which instead of a specific purpose and rational action in relation to it are fundamental.
More generally, so it's important to always try to recognize the experiences that you are experiencing: being present in situations, consistent or inconsistent with the context, but still be in relationship with what surrounds us and with ourselves.

How To Get Different Jackets In Jibbin

not be possible, multivalent




Other (I refer to previous post) to support plurivocality of non-being: seems pretty obvious that objects / events and objects possible / impossible events no in different directions!

Maybe school should be formed, grown and educated, in addition to the sense of reality, the sense of possibility in the sense of that Borghini Musil cites the beginning of his What can : "Who owns it (. ..) Imagine: here could or should happen to this or that thing, and if it is stated that one thing is, he thinks, well, I could probably also be different. So the sense of possibility could also be defined as the ability to think of anything that might be, and not give more importance to what it is, that what is not .

I say this because, as explained in Borghini his Introduction, there is a strong link between reality and possibility: the identity of something is defined in relation to its ability, capacity, capability, "in everything, in everything that happens there are the seeds of this which can be and will be, of what can happen and will happen "and especially the sphere of values \u200b\u200b , strongly linked to that of emotions (see more Borghini, Nozick has made this relationship one of the linchpins of his book Life thought) can not be investigated, if not passed on and owned cultivated a sense of possibility, referring not only to the future but also to the present (what we can do) and in the past (what might have happened).

should be given due importance to what is not but it could be, if only to understand the importance of rules, norms, laws, that is what it takes to draw boundaries in the field of human possibilities.

As to the question of education and education and then to think that more weight should be given to strengthening of the imagination, meaning both the ability to roam in fantastic, is to explore the ' imaginative, but also to think about the possible (ability to conduct "thought experiments"). The distinction between

fantastic and imaginative still refer to Piana: elements of a doctrine and experience imagination rules.

Inititiation Drinking Ideas

value of non-being and value orientation. The concept of "reality" in Proust

In a post in October 2008, Ontology development as , argued: "what there is certainly more important than what there. If there's one thing does not matter, we must take this into account, can not influence, condition, etc. ".

the light of recent considerations for me, however, are forced to reconsider this position, or at least to raise a doubt about that.
If one of those things that we do not exist (or, in terms quiniani-varziani, "if we admit that there are) the objects / events" fictional "objects / objects and events in the past / future events, is very difficult to say that these things count for nothing. A literary character can be more influential and famous of a real person, not talking about what can influence and affect the past. As for the future, sometimes a prediction or a wait may be far more important to us than what we are living in the present.

But one of the hypotheses that I propose in this post is as follows: in addition to being a plurivocality (thesis here that I do not want to commit to support but I have suggested elsewhere that some claim) can support a non-plurivocality be.
The sense in which there is no Sherlock Holmes is different from the sense in which there is no (more) Napoleon! Even among objects / objects and events in the past / future events there is a difference: those of the past are no longer editable, and future (probably) yes!

remains still fine idea to me that one of the results of a future "ontology for all" is precisely to guide and to understand what is important and what is not. Something like that in contemporary thought, a kind of ontology (based on the concept of reality ) but at the same time is also a map of the values \u200b\u200bcan be found in the book by Robert Nozick (philosopher in the picture) Life thought. Of course, Plato is the prime example.

trace followed a path of citations in the text life thinking ( The Examined Life , 1989), so as to give an the basic concepts he uses and how he set up his speech.

"Sometimes a person feels himself to be more real. ... When you feel more real? ... Some might think that the question is confused. In all the moments in which the person exists, it exists, and therefore must be real. ... However, we can distinguish various degrees of reality. Consider first the literary characters. Some are more real than others. Think of Hamlet, Sherlock Holmes, Lear, Antigone, Don Quixote, Raskolnikov. None of them exist, yet they seem even more real than some people we know and do exist. ... Their reality is their liveliness and bite in the consistency with which moved or are afflicted with a particular purpose. ... The exhibit features that make it more concentrated centers of psychological organization. Such literary characters become symbols, paradigms, models, epitopes. They are extremely focused slices of reality.
... Works of art, paintings, poems or pieces of music often seem very real. ... maybe they just for their quality, retain and pay off most long-term attention we pay to them. In any case, we feel more balanced and sharper, more vividly perceive them. Other than the features beauty, like the intensity, power and depth, giving rise to this vividness of perception. ...
also outline mathematical objects and structures where very sharp property are intertwined in a thickly layered network of possibilities, relationships, combinatorial implications. Ask: 'The mathematical entities exist ?' - The question that philosophers do the math - misses the vivid sense of their reality-... According to tradition, Plato believed that the forms - which according to his theories were more real entities - they (like) numbers. The sphere of mathematics, with its clarity, draws our attention to this reality.
Just as some literary characters are more real, so are some people. Socrates, Buddha, Moses, Gandhi, Jesus .. ...
We, however, we are at times more real than others, more so when we are in a certain way rather than another. Often people say they feel more real when they are working with a lot of concentration and attention ... feel more real when you feel more creative. Some say during sexual arousal, others when they are bright and learn new things. We are more real when all our energies are focused, our focus is, when we are attentive, with full efficiency, and we use our (positive) powers. Focusing more intently we focus ourselves.
...
The sphere of reality, what has more a certain degree of reality, does not coincide with what exists. The literary characters although there may be real, existing things can have only the minimum degree of reality required to exist. E 'possible to place the lower limit to the level of reality of existence, anything that is less vivid and clear of all that exists can be called real. But the reality has several degrees, and the reality that particularly interests us here is above the lower limit of this minimum.
...
The "reality" category is the basic assessment or there is another even more fundamental need to understand and evaluate it? The most basic category, as I see it, is that of reality. "

Soling Sailboat Specs

Nozick: when art reflects on itself

" Every day I attach less value to intelligence. Every day I see more and more aware that only the writer no matter it can recapture some of his impressions, which is something he and the only material of art. "

These sentences of Proust, at the beginning of Against Saint-Beuve (this is an essay that Proust did not publish because they never got to give it a final shape, and the drafting of which swelled up to be confused with the genesis of Recherche ; they were published, posthumously, two different versions) show the question about which he is deep thinking will take shape at a time when the idea of \u200b\u200b Recherche : What is the relationship between life and art? In other words: what is the relationship between the experience of a man's life and works of art that he (eventually) produce? This issue has two sides. Applies to those who, faced with a work, questions the weight in the interpretation of it is attributable to the author's life. But it also applies to those who poses the problem of artistic genesis: how the author came to produce this work? More generally: how comes to artistic creation?
Proust in Against Sainte-Beuve , addresses both problems. On the one hand the decisive attack "Biography", played by literary critic Sainte-Beuve, arguing that it makes no sense to judge a work based on the author's life, but it 's work itself which should be examined thoroughly, know in detail and overall structure. On the other hand develop a theoretical core of the genesis of art, which will boost the production of his masterpiece and which will form the backbone of Time Regained, the last volume of the Recherche .
In the passage quoted at the beginning what Proust called "intelligence" will be specified then, in Recherche as "amicus", which is opposite the famous "involuntary memory".

Also in those lines, Proust uses a fascinating metaphor for me: the "matter of art." It is a metaphor because, obviously, if we are to the 'art' in a general sense we are dealing primarily with a concept, not a concrete object. But even if intendessimo speak of a single work of art (and here we do not necessarily great art, but something that simply can oppose science and technology, in the sense that it aims to have either a cognitive function, or a 'practical use), for example a sculpture, a painting, a novel, a film, it is clear that to which Proust refers is not the matter with which these things are done. He does not speak of it is made of marble sculpture, or paint combined with canvas or paper soaked with ink, or the light filtering through the celluloid film. But then what Proust alludes to the metaphor of a "matter of art?
We can get a response by comparing an artist to children well playing on the beach and build sand castles. What plays with the baby? With the sand, definitely. But his "stuff" is not only the sand also plays with the fantasies around the castle he is building.
play with what the sculptor, painter, the musician, writer, filmmaker? Surely with the colors, tactile sensations, with sounds, with words, with pictures. But even with the patterns, with memories, with emotion, with ideas. They play with their experiences , in the broadest sense of that term. Not so "experience" in the narrow sense of sense perception, but in the broadest sense has taught us that the phenomenology : perceptions, memories, imaginations, emotions, desires, thoughts ... (For a first approach to the phenomenology Board Elements of a teaching experience John Plain).

Path in Time Regained :

"... understand how life can be considered mediocre, although at times appeared so beautiful, because we judge (and price) on the basis of something else that she herself, in pictures of her, nothing conserved. (...) Yes, if I remember, thanks to oblivion, it was able to make any connection, throw no bridge between himself and the present moment: if it has remained in her own place, its own data, if conserved distance, its isolation in the depths of a valley or on top of a mountain, it suddenly makes us breathe new air, - new because it's who has already an air breathed in the past - that air purest vain poets have tried to reign in heaven, and that could give us this feeling of deep renews if it had not been breathing, because the true paradises are the paradises we have lost. (...)
different impressions of happiness they shared this: that I felt at once in the present moment and at a distance, so as to catch the past on the present, to make me hesitant to establish which of the two I was. Indeed, the resolutions to be in me then that impression (...) in the deliberations that she had to extratemporal: a being who only appeared when, for one such identity between the present and the past, he could be in the one element which is given to live, and enjoy the essence of things: ie outside of time.
(...) How many times in my life, the reality had disappointed me, because when we perceive the imagination, which was the only body which has had to enjoy the beauty, could not apply to it, which wants to law quell'inflessibile that only things missing are imaginable! And then, suddenly, the effect of the harsh law was neutralized, suspended by a beautiful contrivance of nature, who had flashed a feeling (...) at the same time in the past, which enabled my imagination enjoy it, and this, in which the (...) shock was added to the ghosts of the imagination what they are usually lacking, the idea of \u200b\u200bexistence, and, (...) had allowed my being to grasp, to isolate, to stop, for duration of a flash, what it usually does not capture ever: a fragment of time in pure form. (...)

just a noise, smell, hearing or already breathed once more, they are again, at a time in the past and present, real without being actual, ideal without being abstract, because now the ' permanent and usually hidden essence of things is liberated, and that our true self (...) you awake, you spirits, getting the heavenly food that is offered. A moment freed by the temporal re-created in us, to feel it, man freed by the temporal.

(...) I had to try to interpret the sensations as signs of many laws and ideas, trying to think, that is to get out of the shadows that I had tried to convert it into a spiritual equivalent. Now that half, which seemed the only one, which could consist in if not in creating a work of art? (...) Their first feature was that I was not free to choose, I Came dates as they are. And I sensed that this was to just be a sign of their authenticity.

(...) So, I now come to this conclusion, that we are not free before a work of art, which does not compose at will, but that existing in us, we must, since it is at once necessary and hidden, and as we would for a law of nature, discover it.

(...) Real life, life is finally discovered and the light, then the only life truly lived, is literature. (...) Style, for the writer, (...) is the revelation, not by direct means and conscious of the qualitative difference that exists in the way we see the world, except that if there was not ' art, would remain the eternal secret of each one. Only through art is given to us out of ourselves, to know what another person sees (...) Thanks to art, instead of seeing a single world, our own, we see it multiply, and many are the original artists, many more worlds are at our disposal, different from each other even more than the infinite worlds spinning.

(...) This artist's work, aimed at trying to see under a certain subject under a certain amount of experience, on certain words, something else, is exactly opposite to what, at any time, when we live reversed by ourselves, pride, passion, intelligence, and also the habit, they engage us, amassing over our genuine impressions, to hide the other classification, practical purposes, we give the wrong name "life".