sense data

Western philosophers rated by fightability

Kant - You are in a town in Prussia. A frail looking man accosts you. He knows you know who he is. And he knows that you can see the glint in his eye that says the beating that he’s about to deliver unto you is going to be universalised. 8/10, it’s gonna get Copernican. 

Hume - A jovial looking Scottish man approaches. Despite his large frame and somewhat soft appearance you… you… uh, what? Is he here? Are you here? Is this, is this just a bundle of sense data? Somewhere, however in some small recess of your brain - if that’s a thing, you know he’s barrelling towards you at incredible speed. 9/10, this is going to hurt. Without doubt. 

Camus - You’re in a café. You think. It sounds like one, but all you can see is smoke and all you can smell is (other than smoke) deep thought. A man approaches. He smiles. Fighting you would be absurd, he explains, in beautiful floral French. You talk a while, about life, love, his work and honestly he just melts your heart. Fade to black. You awake the next morning refreshed and ready to continue fighting. 2/10, he left money on the sidetable. How rude. 

Sartre - You make your way onto a bustling Parisian street. You think. Again, it sounds like one but there’s a still strictly ludicrous amount of smoke. It parts like the red sea. A bespectacled man approaches. He looks at you, and you know that while this man may not know himself, he knows how to fight you. The smoke envelopes you once more. He’s coming. 9/10, hell is this fight in particular.

Žižek - You’re in a fast food restaurant car park in Slovenia, and so on. You are bizarrely aware of the nature of society as you sniff. You don’t have a cold. For some reason you keep thinking about batman. The Soviet national anthem begins to play as a bedraggled man emerges from a bin and lurches towards you and so on. 7/10, the ideology may be pure but this fight is going to get dirty.

Diogenes of Sinope - You’re in a barrel. Masturbating. You reckon you could get used to this. Maybe you’ll go and interrupt a lecture later. Suddenly, the barrel is rolling. Someone yells at you in the most vulgar greek to stop cramping his fucking style. Oh, right. You get up, out of the barrel and lock eyes with the also masturbating Diogenes. In his free hand he wields a plucked chicken like a flail. 9.5/10, behold, a boss battle.

The Trinity - The notion of disrupting a lecture still appeals, so you head down the road to the academy. Before you arrive, you are manhandled into an alley and out and up onto the acropolis. It seems all of Athens has assembled. As you are shoved into… a wrestling ring, the crowd begins to roar derision at you. From the opposite corner approaches a man they bill as the Macedonian Menace. Zeus alive, you already know that syllogistically he’s going to beat your ass. The crowd roars even louder for some reason, and a second man enters the ring. It’s Plato. He roars and cracks an amphora of oil over his head. The crowd goes ballistic. He screams something about the form of the ass whooping. You cower. As if that weren’t enough, a third much older and frailer man approaches, and the two assembled part deferentially. Hovering about a foot above the floor of the ring is Socrates. I was wrong, he says - but more as a thought in your head than a vocalisation, I know one thing. He pauses for effect. The crowd is still. You’re fucking dead. 30/10, good luck.

RAVENCLAW: “The Information Age offers much to mankind, and I would like to think that we will rise to the challenges it presents. But it is vital to remember that information - in the sense of raw data - is not knowledge, that knowledge is not wisdom, and that wisdom is not foresight. But information is the first essential step to all of these.” –Arthur C. Clarke

ok but the fact that you never hear your Morgan’s voice ( i.e. the Moran you play as ) is really fucking Meta because January literally speaks for you at the end of the game to make it sound like you’re going to go home and the whole game is centered around different people trying to project their own versions of Morgan onto you and it’s ultimately up to the player to decide whether they try to conform to what THEY want to see or if they make their own version of Morgan and it’s so sad I’m sad Morgan Yu makes me sad

Paragraphs on Conceptual Art

By Sol LeWitt 

The editor has written me that he is in favor of avoiding “the notion that  the artist is a kind of ape that has to be explained by the civilized  critic”. This should be good news to both artists and apes. With this assurance I hope to justify his confidence. To use a baseball metaphor (one artist wanted to hit the ball out of the park, another to stay loose at the plate and hit the ball where it was pitched), I am grateful for the opportunity  to strike out for myself.

I will refer to the kind of art in which I am involved as conceptual art. In conceptual art the idea or concept is the most important aspect of the work.  When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. This kind of art is not theoretical or illustrative of theories; it is intuitive, it is involved with all types of mental processes and it is purposeless. It is usually free from the dependence on the skill of the artist as a craftsman. It is the objective of the artist who is concerned with conceptual art to make his work mentally interesting to the spectator, and therefore usually he would want it to become emotionally dry. There is no reason to suppose, however, that the conceptual artist is out to bore the viewer. It is only the expectation of an emotional kick, to which one conditioned to expressionist art is accustomed, that would deter the viewer from perceiving this art.

Conceptual art is not necessarily logical. The logic of a piece or series of pieces is a device that is used at times, only to be ruined. Logic may be used to camouflage the real intent of the artist, to lull the viewer into the belief that he understands the work, or to infer a paradoxical situation  (such as logic vs. illogic). Some ideas are logical in conception and  illogical perceptually. The ideas need not be complex. Most ideas that are successful are ludicrously simple. Successful ideas generally have the appearance of simplicity because they seem inevitable. In terms of ideas the artist is free even to surprise himself. Ideas are discovered by intuition.  What the work of art looks like isn’t too important. It has to look like something if it has physical form. No matter what form it may finally have it must begin with an idea. It is the process of conception and realization with which the artist is concerned. Once given physical reality by the artist the work is open to the perception of al, including the artist. (I use the word perception to mean the apprehension of the sense data, the objective understanding of the idea, and simultaneously a subjective interpretation of both). The work of art can be perceived only after it is completed.

Art that is meant for the sensation of the eye primarily would be called perceptual rather than conceptual. This would include most optical, kinetic, light, and color art.

Since the function of conception and perception are contradictory (one pre-, the other post fact) the artist would mitigate his idea by applying subjective judgment to it. If the artist wishes to explore his idea thoroughly, then arbitrary or chance decisions would be kept to a minimum, while caprice, taste and others whimsies would be eliminated from the making of the art. The work does not necessarily have to be rejected if it does not look well. Sometimes what is initially thought to be awkward will eventually be visually pleasing.

To work with a plan that is preset is one way of avoiding subjectivity. It also obviates the necessity of designing each work in turn. The plan would design the work. Some plans would require millions of variations, and some a limited number, but both are finite. Other plans imply infinity. In each case, however, the artist would select the basic form and rules that would govern the solution of the problem. After that the fewer decisions made in the course of completing the work, the better. This eliminates the arbitrary, the capricious, and the subjective as much as possible. This is the reason for using this method.

When an artist uses a multiple modular method he usually chooses a simple and readily available form. The form itself is of very limited importance; it becomes the grammar for the total work. In fact, it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work. Using complex basic forms only disrupts the unity of the whole. Using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form. This arrangement becomes the end while the form becomes the means.

Conceptual art doesn’t really have much to do with mathematics, philosophy, or nay other mental discipline. The mathematics used by most artists is simple arithmetic or simple number systems. The philosophy of the work is implicit in the work and it is not an illustration of any system of philosophy.

It doesn’t really matter if the viewer understands the concepts of the artist by seeing the art. Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.

Recently there has been much written about minimal art, but I have not discovered anyone who admits to doing this kind of thing. There are other art forms around called primary structures, reductive, ejective, cool, and mini-art. No artist I know will own up to any of these either.  Therefore I conclude that it is part of a secret language that art critics use when communicating with each other through the medium of art magazines. Mini-art is best because it reminds one of miniskirts and long-legged girls.  It must refer to very small works of art. This is a very good idea. Perhaps  “mini-art” shows could be sent around the country in matchboxes. Or maybe the mini-artist is a very small person; say less than five feet tall. If so, much good work will be found in the primary schools  (primary school primary structures).

If the artist carries through his idea and makes it into visible form, then all the steps in the process are of importance. The idea itself, even if not made visual, is as much a work of art as any finished product. All intervening steps –scribbles, sketches, drawings, failed works, models, studies, thoughts, conversations– are of interest.  Those that show the thought process of the artist are sometimes more interesting than the final product.

Determining what size a piece should be is difficult. If an idea requires three dimensions then it would seem any size would do. The question would be what size is best. If the thing were made gigantic then the size alone would be impressive and the idea may be lost entirely. Again, if it is too small, it may become inconsequential. The height of the viewer may have some bearing on the work and also the size of the space into which it will be placed. The artist may wish to place objects higher than the eye level of the viewer, or lower. I think the piece must be large enough to give the viewer whatever information he needs to understand the work and placed in such a way that will facilitate this understanding. (Unless the idea is of impediment and requires difficulty of vision or access).

Space can be thought of as the cubic area occupied by a three-dimensional volume. Any volume would occupy space. It is air and cannot be seen. It is the interval between things that can be measured. The intervals and measurements can be important to a work of art. If certain distances are important they will be made obvious in the piece. If space is relatively unimportant it can be regularized and made equal (things placed equal distances apart) to mitigate any interest in interval. Regular space might also become a metric time element, a kind of regular beat or pulse. When the interval is kept regular whatever is irregular gains more importance.

Architecture and three-dimensional art are of completely opposite natures.  The former is concerned with making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian or else fail completely. Art is not utilitarian. When three-dimensional art starts to take on some of the characteristics, such as forming utilitarian areas, it weakens its function as art. When the viewer is dwarfed by the larger size of a piece this domination emphasizes the physical and emotive power of the form at the expense of losing the idea of the piece.

New materials are one of the great afflictions of contemporary art. Some artists confuse new materials with new ideas. There is nothing worse than seeing art that wallows in gaudy baubles. By and large most artists who are attracted to these materials are the ones who lack the stringency of mind that would enable them to use the materials well. It takes a good artist to use new materials and make them into a work of art. The danger is, I think, in making the physicality of the materials so important that it becomes the idea of the work (another kind of expressionism).

Three-dimensional art of any kind is a physical fact. The physicality is its most obvious and expressive content. Conceptual art is made to engage the mind of the viewer rather than his eye or emotions. The physicality of a three-dimensional object then becomes a contradiction to its non-emotive intent. Color, surface, texture, and shape only emphasize the physical aspects of the work. Anything that calls attention to and interests the viewer in this physicality is a deterrent to our understanding of the idea and is used as an expressive device. The conceptual artist would want o ameliorate this emphasis on materiality as much as possible or to use it in a paradoxical way (to convert it into an idea). This kind of art, then, should be stated with the greatest economy of means. Any idea that is better stated in two dimensions should not be in three dimensions. Ideas may also be stated with numbers, photographs, or words or any way the artist chooses, the form being unimportant.

These paragraphs are not intended as categorical imperatives, but the ideas stated are as close as possible to my thinking at this time. These ideas are the result of my work as an artist and are subject to change as my experience changes. I have tried to state them with as much clarity as possible. If the statements I make are unclear it may mean the thinking is unclear. Even while writing these ideas there seemed to be obvious inconsistencies (which I have tried to correct, but others will probably slip by). I do not advocate a conceptual form of art for all artists. I have found that it has worked well for me while other ways have not. It is one way of making art; other ways suit other artists. Nor do I think all conceptual art merits the viewer’s attention.  Conceptual art is good only when the idea is good.


Foreign aid isn’t effective without reliable census data. The solution? Satellites.

  • Holes in census data can lead to skewed research and a misunderstanding of populations around the world.
  • In the U.S., census data is often collected through mailed surveys with phone and email follow-ups. It’s an imperfect process — in 2000, for example, the U.S. Census Bureau missed 6.4 million people.
  • Now, researchers are figuring out ways to supplement flawed numbers by using computer learning algorithms and remote-sensing data to examine human settlements.
  • Some of the technology used is similar to what allows Facebook to detect faces in photos and then automatically tag specific users.
  • But instead of looking for human faces, scientists are able to detect homes and settlements from the satellite images.
  • The process allows them to get more than a rough headcount or a sense of urban density — they’re also able to collect information about wealth and class from human settlement patterns. Read more (5/9/17)

follow @the-future-now

high school au (part two)

(read part one here)

Andrew has spent every Sunday since he got out of juvie either in church or at an Exy tournament. It’s not a future he would have predicted for himself two years ago.

Keep reading

anonymous asked:

I'm sorry you suffer from depression. I do too.. For over 12 years now.. I'm going to the doctor for the first time soon.. Scary. You make a lot of people very happy by posting on the internet. You give me hope that depression wont always define me.

Reading this literally brought tears to my eyes. Thank you so much for your bravery and your words. 

No your depression does NOT define you, even if it is a part of you. You are YOU, and you are so much more than that fleshy computer interface we call a brain. 

I mean, our brains our important, but they are an important tool. They are the interface that allows us to control our bodies and interact with the world around us. They are the processing unit that interprets data and sensory input, and enables us to make sense of that data. Much like the way that a computer allows us to receive and process data, and interact with others through the internet. 

But just like silicon computers, our soft fleshy computers don’t always function the way we want. When my computer tries to process too much data, it slows down and sometimes even crashes. Sometimes the trackpad on my laptop works great, and other times (for seemingly no reason) it doesn’t respond at all. There are keys that stick, and programs that run unnecessarily in the background. It is far from perfect. 

And my brain is the same way. Buttons stick, programs don’t run properly, processing power is spent on the wrong priorities, and input signals get distorted. 

Now whether a computer is technological or biological, it makes total sense to seek assistance and try to resolve any detrimental issues that are holding us back. And when we do seek help, IT IS NOT A REFLECTION OF WEAKNESS OR FAULT. 

Think about it. Imagine that your computer started running slow, or your sound card started skipping, or certain programs kept crashing. Now imagine that you decided to take that computer in to be looked at by a professional for some help. Is there shame in that? 

Now maybe there are some people who don’t understand. People who look at your computer and say, “It looks to me like everything is running fine!” Maybe those people are even trying to be supportive. But they don’t use your computer every single day. YOU DO. And it’s important to trust yourself. 

Brains are wonderful tools, but they are tools. And that tool does not define who you are any more than the computer or phone that you’re using to read this on. 

Admittedly, this response has gotten a lot longer than I intended, but I hope my message isn’t lost in all my rambling. In case it is, I’ll sum it up below… 

I am 100% glad that you are taking steps to seek help with your depression. I’m proud of you, and I hope it’s the beginning of some healthy changes. You are wonderful, and you are SO MUCH more than your depression and your symptoms. 

And I’m also really glad that you sent me this message. I try really hard to be honest about my own depression (and other brain IT issues) in the hopes that others might feel they don’t need to hide theirs either. I’m thrilled to know that for you, it helps. 

I have several things about next gen that I’m completely confused on. like why weren’t there more than just a couple of aliens in the everyday crew (honestly how hard would it have been for them to slap some Vulcan ears on a couple of extras?) but my biggest one is how come when Data got his emotion chip, why didn’t he fall in love with Geordi? Without the chip he already basically said that he liked Geordi more than any other human, so once getting the emotion chip they could’ve had him have a crush on Geordi, other than the fact that it doesn’t make sense to me why Data didn’t have a crush on Geordi, I would pay to see a flustered Data trying to ask Geordi out on a date

Okay, so this is like a little side thing, and I’ve always been bothered by this in Undertale fanfics

There are a couple of substitute exclamations often used in the place of “Oh my God” in the Undertale fandom. Because, you know, we can’t assume that the concept of God carried over to the Underground, since we don’t really see a lot of evidence of a religious culture in game

One common one “Stars” makes sense. Given the background data on the Wishing Room, it makes sense that stars would acquire an almost religious significance to the monsters. Wishing upon false stars seems to be something of a ritual, and it has that added mystery of the unknown since most monsters have likely never seen the stars.

But the other…….”Asgore”. I see this a lot. “Oh my Asgore”, “By Asgore” etc etc. (or “Oh my Toriel” in the Swap verses).

Like I guess teeeechnically this could work, given that “by the king!” isn’t uncommon in actual cultures, but to me this feels like a 16th century peasant exclaiming “Oh my Henry!”

And it wouldn’t bother me so much if we didn’t already have a prime figure for this. “The Angel”. This prophecy seems like pretty common knowledge to most monsters, and I don’t know, if just feels a little less awkward to me to say “By the Angel” than to swear by a guy who you probably had tea with at some point this week.Given the limited nature of space in the Underground I don’t think most monsters have the distant relationship with their monarch that most peasants would. 

Anyways, just my two cents

anonymous asked:

13 w/ Data :в

“I could kiss you right now!”

It shouldn’t have surprised you that even after hours of trying to pry the doors open, Data would have no problem doing. When the doors were pushed open, revealing the android, you stood up with a giant sense of relief. “Data.”

He nodded at his name, walking into the ramshackle room. “I am glad to see you are uninjured.” Data replied. “This section of the ship was particularly damaged in the attack. It took quite some time to reach you-”

Data was cut off when you nearly tackled him in a hug. He blinked a few times in confusion before meekly hugging you in return. And then you pulled away, grinning. “I’m so glad to see your face. I thought everyone forgot about me.” You said before pulling him back for another hug. “I could kiss you right now!”

Your statement made Data pause. “I am not sure that an act of affection would be entirely appropriate right now, Y/N.”

Drabbles are closed

Form of the Inferior Functions

Inferior Fi:

Fi-dominant Types
• Inner harmony
• Economy of emotional expression
• Acceptance of feeling as non-logical

Fi-inferior Types
• Hypersensitivity to inner states
• Outbursts of emotion
• Fear of feeling

Inferior Ti:

Ti-dominant Types
• Impersonal criticism
• Logical analysis
• Search for accuracy and truth

Ti-inferior Types
• Excessive criticism
• Convoluted logic
• Compulsive search for truth

Inferior Si:

Si-dominant Types
• Solitude and reflection
• Attention to facts and details
• Awareness of internal experience

Si-inferior Types
• Withdrawal and depression
• Obsessiveness
• Focus on the body

Inferior Ni:

Ni-dominant Types
• Intellectual clarity
• Accurate interpretation of perceptions
• Visionary insight

Ni-inferior Types
• Internal confusion
• Inappropriate attribution of meaning
• Grandiose vision

Inferior Fe:

Fe-dominant Types
• Comfortable inattention to logic
• Sensitivity to others’ welfare
• Sharing of emotions

Fe-inferior Types
• Logic emphasized to an extreme
• Hypersensitivity to relationships
• Emotionalism

Inferior Te:

Te-dominant Types
• Competence
• Truth and accuracy
• Decisive action

Te-inferior Types
• Judgments of incompetence
• Aggressive criticism
• Precipitous action

Inferior Ne:

Ne-dominant Types
• Comfortable inattention to sense data
• Flexibility, adaptability, risk taking
• Optimism about future possibilities

Ne-inferior Types
• Loss of control over facts and details
• Impulsiveness
• Catastrophizing

Inferior Se:

Se-dominant Types
• Focus on external data
• Seeking sensual/aesthetic pleasure
• Delight in the outer world

Se-inferior Types
• Obsessive focus on external data
• Overindulgence in sensual pleasure
• Adversarial attitude toward the outer world

You create many of your own difficulties, if not all of them. This is true for all individuals. The inner psychological state is projected outward, gaining physical reality. This holds true regardless of the nature of that inner psychological state. The way that this is done has been discussed often and is on record in the material. I suggest you read it. The rules apply to everyone. You can use this for your own benefit and change your conditions, once you realize what the rules are.

You cannot escape your own attitudes, for they will form the nature of what you see. Quite literally, you see what you want to see, and you see your own thoughts, your own emotional attitudes, materialized in physical form. If changes are to occur, they must be physical and psychic changes. These will be reflected in your physical environment. Negative, distrustful, fearful, or degrading attitudes toward anyone work against the self and against the individuals involved. Now if you would change an individual, change your thoughts toward him, and changes will appear in the sense data world.

Now: you must understand, for one thing, that telepathy operates constantly at a subconscious level. If you continually expect any individual to behave in a particular manner, then you are constantly sending him telepathic suggestions that he will do so. Every individual reacts to suggestion. According then to the specific conditions existing at the time, such an individual will to some extent or another act according the mass suggestions he has received.

These mass suggestions include not only those given to him by others, both verbally and telepathically, but also those suggestions that he has given to himself while in the waking or dream states.

If individual A is in a period of despondency, then this is because he has already become prey to negative suggestions of his own and others. If now you see him and think that he looks miserable or that he is an incurable drunk – then indeed these suggestions are picked up by him subconsciously though you have not spoken a word, and in his already weakened condition, they will be accepted and acted upon.

If, on the other hand, thinking of him under the same conditions, you stop yourself and say gently to yourself: he will begin to feel better now-or his drinking is temporary-and there is indeed hope here, then you have given him aid, for the suggestions will at least represent some small telepathic ammunition to fight off the war of despondency.

—  Jane Roberts - The early sessions, Book 8

anonymous asked:

Hi there! I'm really unsure if I'm an intj or an infj, could you give me any insight to how I can decide? Thanks! <3

Hello lovely!

Like I said before, I’ve personally found the best way to determine your MBTI type is taking a look at the different type’s cognitive functions and deciding which ones you relate to the most.

In your case, INTJ/INFJ, the cognitive function possibilities are:

(function descriptions taken from


-Ni (introverted intuition)

Looks at consistency of ideas and thoughts with an internal framework. Trusts flashes from the unconscious, which may be hard for others to understand.

-Te (extroverted thinking)

Seeks logic and consistency in the outside world. Concern for external laws and rules.

-Fi (introverted feeling)

Seeks harmony of action and thoughts with personal values. May not always articulate those values.

-Se (extroverted sensing)

Acts on concrete data from here and now. Trusts the present, then lets it go.


-Ni (introverted intuition)

Looks at consistency of ideas and thoughts with an internal framework. Trusts flashes from the unconscious, which may be hard for others to understand.

-Fe (extroverted feeling)

Seeks harmony with and between people in the outside world. Interpersonal and cultural values are important.

-Ti (introverted thinking)

Seeks internal consistency and logic of ideas. Trusts his or her internal framework, which may be difficult to explain to others.

-Se (extroverted sensing)

Acts on concrete data from here and now. Trusts the present, then lets it go.

Hope this helped!


stickid  asked:

are there any flowers u associate with frisk specifically?

there is !  there’s a whole lot i could list but there’s two i pin down the most when it comes down to it :

  • the top one are aster flowers ;  other than the story of astraea and deriving from the greek word star ,  my favorite symbolism from these flowers are patience and afterthought  ( or wishing things have happened differently ) .  these are really obvious ,  if you’ve read the fic ,  f.risk has lots of regrets and i’m sure they’ve imagined countless scenarios where things had gone down differently and “perfect” .  they had a tremendous amount of patience ,  holding on as long as they did ,  and one would have to share the same trait when dealing with their trauma after :’)  the shades involving this flower are ones to think of f.risk too !  there’s light purple ,  blue ,  pink , white ,  there’s even red .
  • the next one is the red spider lily ;  another one that’s pretty obvious ,  symbolizing death but also reincarnation .  they may also mean loss ,  longing ,  and abandonment .  i think a lot of f.risk’s trials with this flower ,  dying over and over again ,  having always felt like they were dead even before the underground .  the flowers also illustrate f.risk’s biggest fears ,  having to lose what they have and being alone again .  fun fact i was thinking of nicknaming f.risk as lyco from the flower’s other name lycoris radiata .

and other blooms that i can think of at the top of my head right now are :

  • white violets ,  white roses ,  daisies  -  “innocence ,  purity ,  sympathy”
    +  thorns from the rose  =  “loss ,  defense” ,  f.risk is pretty defensive once falling underground ,  putting up walls to not get too close to the monsters for fear of only losing their friends in the end .  f.risk is still this way once rejoining the surface ,  reclusive but slowly being able to open up again through time
  • primroses  -  “childhood / youth” ,  as something they didn’t get the chance to experience fully
  • lilies / white lilies  -  “restored innocence after death”
  • tulips  -  “perfect love” ,  what they feel for the family and friends who restored their hope and gave them reason to want to live
    +  white tulips  =  “forgiveness” ,  aimed for themselves as they are still dealing with guilt and self doubts but they’re growing steadily


Think of the ego, the self that suffers a personal history bound to time, as the grid. The deeper and true Self is the flow between cathode and plate. The constant, pure flow. Signals—sense-data, feelings, memories relocating—are put onto the grid, and modulate the flow. We live lives that are waveforms constantly changing with time, now positive, now negative. Only at moments of great serenity is it possible to find the pure, the informationless state of signal zero.
—  Gravity’s Rainbow (Pg. 404), Thomas Pynchon
MBTI Functions: Short Descriptions

Extraverted Sensing (Se): Takes in data from it’s surroundings and makes raw, ‘face value’ observations.

Introverted Sensing (Si):  Takes in data and considers what concrete, detailed knowledge they already know of, moderately updating and adding to it’s storage of knowledge.

Extraverted Intuition (Ne): Takes in data and comes up with ‘outside the box’ scenarios and ideas by expanding away from the original idea.

Introverted Intuition (Ni): Takes in data, recognizes patterns and relates/connects things to the big picture, helping it make predictions.

Extraverted Thinking (Te): Takes objective data and considers what would be the most effective, efficient way to use the currently established system to achieve goals.

Introverted Thinking (Ti): Takes objective data and considers all possible (logical) factors and errors in order to perfect any system, which is it’s overall goal.

Extraverted Feeling (Fe): Takes subjective (social) data (people’s emotions, people’s expectations, etc etc) and considers what would be the most appropriate for the situation at hand.

Introverted Feeling (Fi): Takes subjective data and considers how they feel about this data and if the data aligns with their morals or not.

anonymous asked:

is it wrong to think of the trinity as a theory? for example, we the theory of biological evolution because it makes the most sense of how organisms have diversified. so, is it wrong to think of the trinity as the theory that makes the most sense of the data we have in the bible concerning God's being? or is it wrong because we downgrade it to a man-made concept? thanks, i hope i made sense.

Well, yes and no. We have to make room for the reality that God transcends any category that we can put forth. Yet at the same time, we have to recognize that God has truly revealed himself. So though we cannot know him fully, we can know him truly because he has revealed himself. 

See, that’s the beauty of the doctrine of the Trinity… it includes the majestic mystery of God. It tells us that God exists in both unity and diversity. That he subsists in three persons of coequal essence but that none of the three persons are subsumed so that the Son is God, the Father is God, and the Holy Spirit is God and yet the Son is not the Father, and the Father is not the Spirit, and the Spirit is not the Son. What we don’t know is how that is or what those relations look like. Yet we know it to be true. So it’s not just a theory, it’s truth. And yet though it is true, it does not and cannot give us the whole picture. Not to worry though, because we will have an eternity in heaven to continue to learn and explore and expand upon the knowledge of God, never exhausting his character.