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About KorbenDallas

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    John Mackey
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  1. Dealing with distractions from your values

    Dealing with distractions from your values, I think has to do with having a hierarchy of values. Distractions affect your life, values, purpose(s); so having a hierarchy of values can help a person know (identify) when a distraction is taking place, and what to do. Relatedly, Rand's Playboy interview came to mind, this question and answer: Q: If a person organizes his life around a single, neatly defined purpose, isn’t he in danger of becoming extremely narrow in his horizons? Rand: Quite the contrary. A central purpose serves to integrate all the other concerns of a man’s life. It establishes the hierarchy, the relative importance, of his values, it saves him from pointless inner conflicts, it permits him to enjoy life on a wide scale and to carry that enjoyment into any area open to his mind; whereas a man without a purpose is lost in chaos. He does not know what his values are. He does not know how to judge. He cannot tell what is or is not important to him, and, therefore, he drifts helplessly at the mercy of any chance stimulus or any whim of the moment. He can enjoy nothing. He spends his life searching for some value, which he will never find.
  2. There Are No Shortcuts

    I hold more of a Branden view of the importance of emotions in life, he places more of an emphasis on them than Rand does. I cannot reconcile Rand's view of emotions in the context with my own personal experience when playing music for performance, or practicing it. You said upthread that you agree with Rand's "hard-nosed insistence that feelings, emotions, and sentiments have no cognitive content and only ruthless objective reason is the way to determine what is true, false, right, or wrong." That's not what I personally experience when playing performance music, and upthread I stated my conclusion about this experience (and also from researching the subject) is that emotions can drive a performance, and some of the best performances are done this way. Does this contradict Rand's view of emotion? It seems to. But what is strange is how Rand indicates in the Romantic Manifesto she doesn't quite understand how music affects the emotion of the perceiver---so how would she understand how the performer creates? I don't have the answers to that, but I know one must have an epistemological/values foundation or it would be a mess. I think I see what your view on feelings are, and also how it integrates with music performance. I'm not sure if I agree with it exactly. But I think there is agreement that emotions are not a shortcut in life, or in musical performance.
  3. There Are No Shortcuts

    And what of the role of emotion in performance?
  4. There Are No Shortcuts

    Branden does cite a philosophical/moral definition for pride in the 6 Pillars, it is the sentence that follows the definition for psychological pride. He says pride in the philosophical/moral sense is moral ambitiousness. He definitely speaks of a primacy of reason over emotion. I didn't mean to mislead by only quoting the psychological pride definition. How does this apply to musicians? Some of the best performances are driven by a person's emotions, though I don't agree that emotion alone can do it. A person needs an excellent epistemological/values foundation to allow their emotions to drive a performance without being a mess. "Playing a wrong note is insignificant, playing without passion is inexcusable" - Beethoven
  5. Objectivist Esthetics, R.I.P.

    Where's Waldo?
  6. There Are No Shortcuts

    Branden does not say that self-esteem is something one pursues directly, in the copy I have of the 6 Pillars he says on page 65 that self-esteem is a consequence (italics are not mine): Since self-esteem is a consequence, a product of internally generated practices, we cannot work on self-esteem directly, neither our own nor anyone else's. You seem to be saying above that self-esteem is the recognition of achievement, is this your definition for self-esteem? This is actually similar to what Branden defines as psychological pride in the 6 Pillars. From page 41: Pride is the emotional reward of achievement. It is not a vice to be overcome but a value to be attained. So have I identified a specific point of disagreement between you and Branden of what self-esteem is? Here is Branden's definition of self-esteem from page 27: Self-esteem is the disposition to experience oneself as competent to cope with the basic challenges of life and as worthy of happiness.
  7. There Are No Shortcuts

    So The Six Pillars of Self-Esteem is a gimmick? What are your reasons?
  8. No Subconscious

    By the way, I judge and think about what Rand says, so I don't accept her as authority, but I find she is right about a lot of things.
  9. No Subconscious

    Yes, I think we can agree then, that quoting Rand directly to illustrate what she wrote can be beneficial. I looked this up, what you are referencing is in the ITOE Appendix under The Role of Words, Words and Concepts. But why do you say "There is no such thing as "conceptual" consciousness"? Rand definitely did not say that in that section.
  10. No Subconscious

    Upthread you said this: So as a matter of refutation it sounded like you wanted some Rand quotes, so you don't anymore?
  11. No Subconscious

    What are the valid forms of art—and why these? . . . The proper forms of art present a selective re-creation of reality in terms needed by man’s cognitive faculty, which includes his entity-perceiving senses, and thus assist the integration of the various elements of a conceptual consciousness. Literature deals with concepts, the visual arts with sight and touch, music with hearing. Each art fulfills the function of bringing man’s concepts to the perceptual level of his consciousness and allowing him to grasp them directly, as if they were percepts. (The performing arts are a means of further concretization.) The different branches of art serve to unify man’s consciousness and offer him a coherent view of existence. Whether that view is true or false is not an esthetic matter. The crucially esthetic matter is psycho-epistemological: the integration of a conceptual consciousness. “Art and Cognition,” The Romantic Manifesto, 73
  12. No Subconscious

    This from ITOE under Axiomatic Concepts: This gives us a lead to another special aspect of axiomatic concepts: although they designate a fundamental metaphysical fact, axiomatic concepts are the products of an epistemological need—the need of a volitional, conceptual consciousness which is capable of error and doubt. An animal’s perceptual awareness does not need and could not grasp an equivalent of the concepts “existence,” “identity” and “consciousness”: it deals with them constantly, it is aware of existents, it recognizes various identities, but it takes them (and itself) as the given and can conceive of no alternative. It is only man’s consciousness, a consciousness capable of conceptual errors, that needs a special identification of the directly given, to embrace and delimit the entire field of its awareness—to delimit it from the void of unreality to which conceptual errors can lead. Axiomatic concepts are epistemological guidelines. They sum up the essence of all human cognition: something exists of which I am conscious; I must discover its identity.
  13. No Subconscious

    Here is the definition of explicitly from the 1828 Webster ( http://webstersdictionary1828.com/Dictionary/explicitly ): EXPLIC'ITLY, adverb Plainly; expressly; without duplicity; without disguise or reservation of meaning; not by inference or implication. You still haven't provided a quote where, "[Rand] did explicitly say that perception is the only kind of conscious awareness."
  14. No Subconscious

    Provide the quote
  15. No Subconscious

    You seem to be referring to Nathaniel Branden, to which I don't refer to him like that. His productive work has helped many people, including myself.