|—||Ludwig Wittgenstein (via mycolorbook)|
“Death is not an event in life: we do not live to experience death. If we take eternity to mean not infinite temporal duration but timelessness, then eternal life belongs to those who live in the present.”
~ Ludwig Wittgenstein
There’s a great story of Wittgenstein being a lover of shoveling dirt and hard labor…..
Some Wikipedia readers have observed that clicking on the first link in the main text of a Wikipedia article, and then repeating the process for subsequent articles, usually eventually gets you to the Philosophy article. As of June 05, 2011, 99.99% of all articles in Wikipedia lead eventually to the article Philosophy. The rest lead to an article with no wikilinks, links to pages that do not exist, or get stuck in loops. There have been some theories on this phenomenon, with the most prevalent being the tendency for Wikipedia pages to move up a “classification chain.” According to this theory, the Wikipedia Manual of Style guidelines on how to write the lead section of an article recommend that the article should start by defining the topic of the article, so that the first link of each page will naturally take the reader into a broader subject, eventually ending in wide-reaching pages such as Mathematics, Science, Language, and of course, Philosophy. The Philosophy article itself links to reality which links back to Philosophy.
|—||Anthony Grafton, The Footnote: A Curious History, discussing Pierre Bayle’s Dictionnaire Historique et Critique|
|—||Anthony Grafton, The Footnote: A Curious History, quoting from Edward Gibbon’s memoirs, in reference to Pierre Bayle|
He disliked overhead lights, in which category he included the midday sun, but he loved the horizontal rays at the two ends of the day. He waited for hours, reading a book, for the right sort of light and the right sort of weather.
When he came home, he developed his photographs and sorted them. Of a thousand pictures, he might keep three. When he decided that a picture was worth saving, he took it to a professional processor in London and had the processor hand-paint out all aspects of the image that he found distasteful, which meant all evidence of the twentieth century—cars, telegraph wires, signposts—and usually all people. Then he had the colors repeatedly adjusted, although this was enormously expensive, until they were exactly what he wanted—which was a matter of fidelity not to the scene as it was but to an idea in his head.
|—||From Larissa MacFarquhar’s profile of Derek Parfit in The New Yorker|