Ayulsa wrote:Now I feel like AT2 just made 100 times more sense. Thank you, Deci and d_c
We have to thank Deci, I just re-formulated a little. I share your sentiment, however, I can't help but feel that we're over-guessing with this hypothesis
aquagon wrote:If we get to the core of the matter, H-Wave interaction happens all the time in the real world: when talking to other people say, listening to music, watching a painting... even something as simple as seeing the facial expressions of other people is H-Wave interaction. So, also building a relationship in the real world would be seen then as only a result of confusion that steems from the interaction of feelings, is we are going to analyze the situation under that paradigm.
This reminded me of Orson Scott Card's recurring concept of those meta-entities which gave life to people and intertwined when people interacted
And the 'confucion' theme, when taken to extreme, indeed does result in what you described (since AT puts equality sign between people's thoughts and feeligns, and the local laws of physics:)
Deciare wrote:That was a lovely reminder of something I hadn't specifically thought about in a while. ^_^ An artist's feelings are woven into the work they create; not only those specifically related to the work, but the passing tangents and context of the artist's life and wishes, as well. I have appreciated this concept ever since I understood Was yea ra chs hymmnos mea. To become to song, to be that which you create, and to spare nothing.
It's difficult to separate what is appropriate and should be communicated from what is inappropriate and should remain unstated... I spend far too much of my time doing that even though I already know what I wish to convey. If the pressure of saying only what is relevant and appropriate would let up just a little... I wonder if we'd all be better orators and writers if we didn't have to worry about what not to convey.
QFT. A beautiful passage indeed. (Although I prefer «Wee yea ra crannidale yora» for the sake of those of us who can't sing).
I once used to think that phrases like «artist's feelings are woven into the work they create» were just metaphors, fancy sayngs, but once, when I was reading Sei Shonagon's «Pillow Book», I suddenly realised that it was literal. As a reviewer puts it, «...reminds us all of our humanity, regardless of our time, culture, or language. She complains. She gloats. She finds fault with others. And when she does, the millennium separating her from us vanishes
...». If a nameless lady in waiting who lived a thousand years ago, even for a split second, can make us think, imagine and feel the same things she felt a few aeons before we were born, then she is
alive, here, right now. Maybe it was not all just metaphoric after all.
Although I doubt we'd all become genius orators and writers all of a sudden if the pressure is lifted. I've been to anonymous boards where people communicate the inappropriate and state the unstateable on regular basis, and it doesn't even remotely look like a place where great orators gather
(I know you didn't mean it like that, but still I think it's our interaction with those limits that makes us grow, not focus on ridding of them).