Secara simantiknya, epistemologi berasal daripada perkataan Yunani, iaitu "episteme" dan "logos". "Episteme" bermaksud pengetahuan manakala "logos" pula bermaksud teori. Epistemologi membahas secara mendalam segenap proses yang terlihat dalam usaha kita untuk memperolehi pengetahuan.
Dari segi bahasa bermaksud teori tentang ilmu pengetahuan.
Epistemologi merupakan satu cabangan falsafah. Epistemologi prihatin tentang beberapa isu klasik, iaitu apa itu ilmu, apakah sifat-sifat utama konsep ilmu menurut rasionalisme, empirisme dan skeptikisme.
"Bohemian Rhapsody" has been affiliated to the genres of progressive rock/symphonic rock,[3][22][23][24] hard rock,[25][26] and progressive pop.[27] The song is highly unusual for a popular single in featuring no chorus, combining disparate musical styles and containing lyrics which eschew conventional love-based narratives for allusions to murder and nihilism.
Nihilism (/ˈnaɪ(h)ɪlɪzəm, ˈniː-/; from Latin nihil, meaning 'nothing') is the philosophical viewpoint that suggests the denial or lack of belief towards the reputedly meaningful aspects of life. Most commonly, nihilism is presented in the form of existential nihilism, which argues that life is without objective meaning, purpose, or intrinsic value.[1] Moral nihilists assert that there is no inherent morality, and that accepted moral values are abstractly contrived. Nihilism may also take epistemological, ontological, or metaphysical forms, meaning respectively that, in some aspect, knowledge is not possible, or reality does not actually exist.
The term is sometimes used in association with anomie to explain the general mood of despair at a perceived pointlessness of existence that one may develop upon realising there are no necessary norms, rules, or laws.[2]
Nihilism has also been described as conspicuous in or constitutive of certain historical periods. For example, Jean Baudrillard and others have called postmodernity a nihilistic epoch[3] and some religious theologians and figures of religious authority have asserted that postmodernity[4] and many aspects of modernity[5] represent a rejection of theism, and that such rejection of theistic doctrine entails nihilism.
“Life on Mars?” is an enigmatic song with its origins in chanson—the lengthy, lyric-driven and often melancholy songs of France—and a definite eye on both middle-of-the-road balladry and the latest developments in music in the early 1970s. And for such an opaque fable with a bleak view of the modern world, it has become a remarkably potent musical artifact, spawning not only countless covers, but a TV series and quite a few appearances in movies too.
The lyric, while far from a straightforward narrative, is essentially the story of a sensitive girl looking to the media to lift her out of her traumatic home life and finding the experience confusing and empty. She hides in a cinema to escape, only to become overwhelmed with despair when she can’t relate to anything happening on the screen. As David himself explained in The Complete David Bowie: “I think she finds herself disappointed with reality… that although she’s living in the doldrums of reality, she’s being told that there’s a far greater life somewhere, and she’s bitterly disappointed that she doesn’t have access to it.”
This two song medley was released in 1969 by the 5th Dimension. The song is from 1967 musical, "Hair"
The Age of Aquarius is frequently used to refer to the 1960's and 1970's when the hippie counterculture was active. The Vietnam War was going on and president John F Kennedy had been assassinated. The world seemed a chaotic place and people were looking forward to a time of peace and happiness. The song Aquarius/Let the Sun Shine In illustrated what the world was yearning for. To people who follow astrology, it seemed that the planets "weren't in alignment" and that there was a lot wrong with the world because of this. Actually, the moon in the seventh house and Jupiter aligning with Mars is a poetic license. These are not necessarily uncommon events.
The lyrics tell of the harmony understanding, sympathy, trust and love that will take over. Lies will come to an end and a new beginning, the Age of Aquarius, is on the horizon. "Let the Sun Shine In" is simply asking for just that - people to let the sun shine and give up the negativity.
Malam bulan berendang
Berwarna biru di cermin kali
Mata air memancar
Mengilap mata yang lama kabur
Derita perlakukan
Gerlapan malam
Di kaki gunung bertudung kabus
Syahdu lagu berdendang
Melamar kasih sayup membisik
Membelai sukmaku
Berkurun rindu agak pendita
Berkilau sinar
Maya yang menderu
Membakar bahu musafir
Di lembah duka nestapa
Kini kasih kembali
Sekilas mentari
Sepi di ranting yang amat tinggi
Sekadar menemani
Jiwa tersadai
Di belantara sepi
Merayu pada yang maha esa
Agar dikurnia cahaya
Cinta kekal selama
kan. Cabang pengetahuan juga...mitos tentang bulan...
Jutaan Purnama Alyah
sayangku
bangun oh sayang ku
sedarkan dari lena mimpimu
aku masih perlukan dirimu
sayangku
bukalah matamu
lihat diriku masih menunggu
kesatkan air mataku
maafkanku kerna ku takut kehilangan dirimu
taruhkan jutaan purnama
kan setia diriku bersamanya, mencintanya hingga ke akhirnya
akhirnya
sayangku
bangkit oh sayangku
mari menari seperti dulu
hilang arah ku tanpamu
maafkan kerna ku takut kehilangan dirimu
taruhkan jutaan purnama
kan setia diriku bersamanya, mencintanya hingga ke akhirnya
taklukkan hatiku padanya
janji setia aku bersamanya, mencintanya hingga ke akhirnya
teruskan jalanku mencintainya
sampai nanti jasadku terbeku
dan ternyata abadi cinta kita selamanya
kau jutaan purnama
kan setia diriku bersamanya, mencintanya hingga ke akhirnya
taklukkan hatiku padanya
janji setia aku bersamanya, mencintanya hingga ke akhirnya
janji setiaku padanya, bersamanya, mencintanya hingga ke akhirnya
akhirnya
The theme of the song is expressed by the title. It is an expression of nihilism. The “church” stands for “meaning, value, or purpose” and “the wild” stands for “the world”. So the title literally means “there is no meaning, value, or purpose in the world”.
The central image is not really an image at all, but a negation of an image: “no church”. This complements the message of the song; we feel the loss of value more strongly when contrasted with the image of a church whose existence has been negated. The term “the wild” functions similarly, by implication -the “wild” is a negation of social order.
One might ask whether “the wild” really means “the world”; couldn’t “the wild” literally mean the wild? In another context, sure. But not in this song, which works to dispel the illusion of power and reveal the emptiness of our social structures:
Lies on the lips of a priest
Our religious institutions are empty;
Thanksgiving disguised as a feast
Our rituals and celebrations are empty;
Tears on the mausoleum floor
Blood stains the Coliseum doors
These lines evoke violent rebellion and struggles for power, calling to mind the fall of Rome, and illustrating the transitory nature of social order. As powerful as these institutions may appear, they are ephemeral.
And, the first verse cuts straight to the heart of the matter with these lines:
Is Pious pious ’cause God loves pious?
Socrates asks, “whose bias do y’all seek?”
Here, the lyrics reword the Euthyphro dilemma: do the gods love pious things because those things are pious, or are those things pious because the gods love them? What decides ethical value, ultimately? The next line provides the answer: nothing. Everything is just a bias. We decide our own values.
Chorus
The chorus is a beautifully crafted rhetorical expression of nihilism.
The first line reads:
Human beings in a mob
Superficially, this could be talking about some particular humans who have formed a mob. But this is really a statement about the human condition. We exist as a mob; we are on our own, doing whatever we want to do, without a ruler or governing structure.
The following lines read:
What’s a mob to a king?
What’s a king to a god?
What’s a god to a non-believer?
Who don’t believe in anything?
The first three of these lines are all rhetorical questions: “What’s a mob to a king”? (nothing); “What’s a king to a god?” (nothing); “What’s a god to a non-believer?” (nothing). The fourth line is a double negation; “don’t believe in anything” means “believe in nothing”. If we strip away the rhetorical clothing on these lines, they read something like:
nothing
nothing
nothing
believe in nothing
The following lines superficially offer some kind of a response to this nihilism:
We make it out alive
All right, all right
To “make it out alive” is a cliché idiom that means that we’ll get through it, and “all right, all right” seems to be trying to console us -don’t worry, it’ll be alright. But the lines feel half-hearted, empty, and they don’t make us feel at ease.
The use of the cliché “make it out alive” on its own is enough to make the consolation feel dead. But even more striking is the ironic use of “make it out alive” to mean “get through life” -you don’t get out of life alive. That’s the whole point. You die.
In case it was not clear enough that we are meant to be left with the resounding feeling of emptiness, the chorus ends with a repetition of the title line: “no church in the wild”. At the end of the song, this line is repeated four times.
Struggle with nihilism
The lyrics don’t merely call attention to nihilism and wallow in the lack of value. The second verse enacts a struggle within that nihilism, a dramatic evolution as the speaker tries to find purpose in their own way. (Of course, these efforts are doomed to failure, representing, necessarily, the particular bias of the speaker).
I live by you, desire
This line seems to suggest that hedonism is an appropriate response to nihilism.
Your love, is my scripture
This line seems to suggest that love provides a better source of meaning and value than religious institutions.
No sins as long as there’s permission’
This line promotes a worldview where morality is not determined by a religious authority, but by whether you are trespassing on other people’s autonomy.
There are probably a hundred Bob Dylan songs that could have made it onto this list, but since the first line of the chorus provided the title for my book, “How Does It Feel?: Elvis Presley, The Beatles, Bob Dylan, and the Philosophy of Rock and Roll,” I thought I should stick with this most obvious of choices, the song perhaps most often declared “The Greatest Song of All Time.” To my mind, that repeatedly wailed line, “How does it feel?” encapsulates the deepest significance of rock and roll, exemplifying the shift that took place in the twentieth century, but especially in the sixties, from the restrictively rational modern premises in which Dylan’s Mr. Jones is eternally trapped to a mode of thought that acknowledges the validity of both critical intellect and intuitive, bodily knowledge.
2. Bonnie ‘Prince’ Billy, “Wolf Among Wolves”
This song is about what it means to have an animal body in a civilized human culture, which since approximately the seventeenth century has pervasively taught us to repress attention to felt experience in favor of rationally constructed roles and hierarchies based on partial assumptions about the world. Will Oldham (aka Bonnie ‘Prince’ Billy) seems to be lamenting constricting gender stereotypes and pondering what it means to be a man who feels an overwhelming urge toward freedom in a culture where he must constantly deny those instincts to make a living, to provide his mate with “a sheltered cave that I have never seen,” and to be considered a “man among men,” a role that feels inauthentic to his true nature as a “wolf among wolves.” This is one way of expressing the “mind-body problem,” the fundamental conflict at the heart of modern Western culture between subject and object, psyche and cosmos.
3. Bob Marley and the Wailers, “Running Away”
“Running Away” is one of the stranger songs in Bob Marley’s canon. He seems to be performing the inner dialogue of someone who “must have done something wrong” and who “can’t find the place where you belong,” which, like many of Marley’s lyrics, appears to refer to the disenchanted, materialist assumptions of the late modern West, or “Babylon” as Rastafarians call it. In contrast with this alienated, disaffected way of being, Marley and the I-Threes chant “who feels it knows it, Lord,” which is a reappropriation of the chorus of an early Wailers song (released in 1966, the years after “Like A Rolling Stone”). Although Marley is specifically referring to the insight that “every man thinks that his burden is the heaviest,” the dictum “who feels it knows it” expresses a general understanding that felt knowledge is vitally important for engaging with the world. According to Marley, the man in the song, who has apparently run away from a woman, is really making an unsuccessful attempt at “running away” from himself, and Marley seems to imply that he should stop denying his bodily intuition, a denial which is producing severe cognitive dissonance.
4. Elvis Presley, “Milkcow Blues Boogie”
This is one of the earliest songs Presley recorded at Sun Studio, the future “King” and his band beginning the song in a slow, bluesy arrangement, with Presley singing in a quavering voice that sounds like a mediocre retread of the vocal jazz style still predominant at that moment in 1954. After a few seconds of this, Presley stops the band, intoning: “Hold it, Fellas. That don’t move me. Let’s get real, real gone for a change.” Then Presley lets out an extended “well” that explodes into the energetic, even frantic rhythm of the rock and roll style that these men had just invented a few months before on “That’s All Right,” and the listener is in a different world. This is a primary moment when Presley enacted the transition from the orthodoxy that the jazz age had inevitably become (after embodying a similar revolution to rock and roll earlier in the century), to a new way of constructing experience that focuses on what “moves” you, on getting “real, real gone,” enacting the literal meaning of ecstasy, which is to be “out of the stasis” and in motion. Starting with these recordings, Presley and the other early rock and rollers mediated the emergence into collective awareness of a way of relating to experience that was both radically novel and archaic, recalling the primal, nearly universal form of religious activity
referred to as shamanism.
5. The Beatles, “The Word”
This is John Lennon’s initiatory declaration, from 1965’s Rubber Soul, of the philosophy that would come to characterize some of his greatest songs in the following years, from “All You Need is Love” and “Come Together” to “Imagine” and “Mind Games”: that “the word is ‘love.’” But more than this simple assertion, Lennon singing “Now that I know what I feel must be right, I’m here to show everybody the light” indicates that “love,” by which he seems to mean compassion, empathy, and care for others, is the result of a deeply felt epiphany, a kind of conversion experience. That he exhorts the listener to “say the word and you’ll be free” suggests that love for others is the way to free oneself from the limiting confinement of one’s self-centered fears and insecurities. The answer, he seems to assert, is to give one’s life to something greater than one’s individual needs and neuroses.
6. Hank Williams, “Ramblin’ Man”
Freedom from constraint seems to be a common theme among the greatest musical philosophers of the twentieth century, and Hank Williams, the father of country music, is certainly no exception. In “Ramblin’ Man” he sings: “I can settle down and be doin’ just fine, ‘till I hear an train rollin’ down the line,” because “when that open road starts to callin’ me, there’s somethin’ over the hill that I gotta see.” His curiosity and need to explore are driving him to go beyond what he’s encountered before and, perhaps, to overcome himself in the process. Williams’ story is a constant tug-of-war between his love for a woman and his need for ultimate liberation. And although, as he sings, “some folks might say that I’m no good, that I wouldn’t settle down if I could,” these people seem to have been attempting to inhibit the vital impulse toward novelty that impels the greatest human achievements. If Williams had heeded the insults of these doubters, he might have lived a long and prosperous life, but our culture would be a vastly poorer place for not having his music, which was surely driven by this need to see beyond the next horizon. Finally, he says, “I love you, Baby, but you gotta understand, when the Lord made me, he made a ramblin’ man.” His culture didn’t particularly value his urge to transcend his divided condition, which mirrored a schizophrenic modern mentality, but Hank Williams bravely forged on to assert what he felt to be true in his heart and in his body. Although, like many artists before and after, he suffered for it greatly, we are forever in his debt.”
7. Tinariwen, “Amassakoul ‘n’ Tenere”
In 2012, Tinariwen, a group from North Africa, won a Grammy Award for Best World Music Album after collaborations with members of Wilco and TV On The Radio. But make no mistake: this is dangerous rock and roll, or “desert blues” as it is often described. Tinariwen’s Ibrahim Ag Alhabib is his culture’s Bob Dylan or Bob Marley, complete with strikingly gaunt visage and wild halo of hair. The nomadic Tuareg people of the Sahara Desert of Northern Mali consider him something like a prophet, and listening to the music, it’s hard to argue. Although the words are sung in Tuareg, there is a by turns exalted and menacing depth to the music, particularly Ag Alhabib’s lacerating, minimalist guitar playing, and his incantatory vocal phrasing, which give the songs an air of great significance, a sense that is confirmed by the translated words. The title of this song, from their 2004 record, means “The Traveler in the Desert,” and Ag Alhabib sings: “In the desert, flat and empty, where nothing is given, my head is alert, awake,” intimating that the limitations of his ancestral environment, one of the most difficult on the planet, lift him to a kind of heightened awareness. “These worries are my friends,” he sings, “I’m always on familiar terms with them and that gives birth to the stories of my life.” The struggles and hardships of the desert, he seems to say, are gifts that compel him to create something from virtually nothing. As he recognizes, the narratives that we create through our engagement with hard reality are what give meaning to our existence.
8. Bruce Springsteen, “Growin’ Up”
Bruce Springsteen is probably the one artist who, more than any other, carried the flame of rock and roll through the nineteen eighties. “Growin’ Up,” from his first record in 1973, is about being a “cosmic kid in full costume dress” at the end of the sixties, apparently indulging in the sex, drugs, and rock and roll that defined that era, when he “hid in the cloud” and “never once gave thought to landing.” Basically, he was really, really high, “taking month-long vacations in the stratosphere.” However, he tells us, “you know it’s really hard to hold your breath,” which seems to indicate that the deep introspection and self-exploration that psychedelic substances in particular often induce can be extremely challenging. Through this spontaneous therapeutic process that Springsteen underwent along with many in his generation, he sings, “swear I lost everything I’d ever loved to fear,” perhaps suggesting that these transformative chemical compounds forced him to face his fears and overcome his attachment to them. Although his “feet they finally took root in the earth,” which seems to mean that he moved past this exploratory phase, bearing a striking resemblance to shamanic initiation, he held onto “a nice little place in the stars” that he could apparently return to as a transcendent source of inspiration and renewal. Ultimately, he tells us, “I swear I found the key to the universe in the engine of an old parked car,” discovering profound meaning and beauty in the mundane.
9. Elliott Smith, “Ballad of Big Nothing”
This song is Elliott Smith’s articulation of ultimate existential freedom: “You can do what you want to whenever you want to,” though Smith exemplified the potentially tragic side of this liberation characteristic of rock and roll, one of many “creeps” and “losers,” from Kurt Cobain to Thom Yorke to Beck, who made such great music in the nineties. Although Smith seems to have recognized that we create our own reality, like the postmodernism that was perhaps most prevalent during that decade, he took this constructed quality of experience as evidence that “it doesn’t mean a thing.” Others on this list, however, have interpreted this same insight as meaning that “world views create worlds,” as philosopher Richard Tarnas puts it, that we participate in the creation of the world’s meaning. Elliott Smith and Kurt Cobain were primary examples of a stage of development that most of us go through, generally centered around adolescence, but from which most of us eventually emerge. In a sense, they mediated this period of angst-filled rebellion in the culture at large, which cleared away the previous modern assumptions about the nature of reality in order to create space for something new to emerge.
10. The Rolling Stones, “You Can’t Always Get What You Want”
As probably the most realist of the sixties triumvirate that they form with the Beatles and Dylan, the Stones recognize in this song that life is always a negotiation between desire and necessity. When we’re young, many of us have high aspirations, to be a rock star or the President of the United States and, as Mick Jagger seems to recognize, that’s as it should be. However, not all of us are destined to be world-historic icons, though life has a way of slowly and inexorably leading us toward new and unexpected paths through the kinds of daily encounters that Jagger describes in the lyrics, from “the reception” where “she was gonna meet her connection,” to “the Chelsea drugstore” where “Mr. Jimmy” was looking “pretty ill.” But the point Jagger seems to be making in the chorus is that even though “you can’t always get what you want,” this isn’t cause for despair, as Elliott Smith interpreted it. Rather, Jagger seems to say, the realities of life are the constraints we must work within to become what we are meant to become. Keep striving toward your goal, he suggests, and life will give you “what you need” to get where your “final cause” is luring you, as Aristotle first expressed it. This is a mode of thought that reductive materialism finds trivial and naive, but along with highly sophisticated philosophers like William James, Henri Bergson, Alfred North Whitehead, and Thomas Nagel, some of the greatest rock and roll singers have elected to see the world in this way.
Pasal pengalaman anak memangku / pegang tangan ibunya yang mati akibat kanser. Walaupun dia banyak tak bersetuju dengan ibunya masa ibunya sihat. Tapi at that point dia dah forgive and forget semua benda atas kapasiti seorang anak
Post time 2-4-2019 06:24 PMFrom the mobile phone|Show all posts
Epistemologi merupakan salah satu cabang ilmu falsafah selepas ontologi. Istilah epistomologi telah diperkenalkan oleh ahli falsafah Scotland iaitu James Frederick Ferrier. Perkataan epistomologi berasal dari bahasa Yunani iaitu gabungan episteme dan logos yang bererti episteme sebagai pengetahuan manakala logos bermakna pengetahuan sistematik atau ilmu. Secara umumnya epistemologi bermaksud suatu pemikiran yang mendalam dan sistematik mengenai sesuatu ilmu pengetahuan tersebut. Menurut Oxford Dictionary Of Sociology (2009), epistemologi bermaksud
“The philosophical theory of knowledge on how we know what we know”
. Ini bermakna epistemologi adalah mengenai bagaimana pengetahuan yang dimiliki diperolehi oleh seseorang individu.
Macam kopipes ni pun some sort of epistemologi jugaklah ye..
Source: Hisyam Mohd
Post time 4-4-2019 03:50 PMFrom the mobile phone|Show all posts
Epistemic Epidemic” lyrics (by Arpaly, Dreier, and Estlund):
1.
Point 1, point 2, point 3, point 4
Everybody grab a credence, then grab some more
Point 5, point 6, point 7, wait!
Man you’re crazy if you think that you can hit .8!
2.
It’s the latest dance, the best in town:
Grab a word like “epistemic”, then add a noun
Like “angst” or “insouciance” or “indulgence” or “greed”
If you want a paper topic that’s all you need!
CHORUS (all 3 sing)
Epistemic trespass on my lawn,
some epistemic charity, bring it on!
Injustice epistemic 123,
don’t give me your polemic: not for me!
Epistemic duties, off my back
Epistemic peers, gone off the track
Epistemic deference? outta town!
Epistemic democrats, vote em down!
3.
Forget old virtue, vice and blame
Every word remotely ethics-like is now fair game
If “duty” doesn’t really seem to hit the spot
Epistemic consequentialism’s also hot”
4.
Epistemic disrespect or were you just teasin’?
Epistemic rationality and epistemic reason
If you think this construction is epistemic fine
Then you must be out of your epistemic mind!
CHORUS (all 3 sing)
Epistemic trespass on my lawn,
some epistemic charity, bring it on!
Injustice epistemic 123,
don’t give me your polemic: not for me!
Epistemic duties, off my back
Epistemic peers, gone off the track
Epistemic deference? outta town!
Epistemic democrats, vote em down!
Post time 11-11-2018 12:17 PM
变色卡
Author
Post time 11-11-2018 01:09 PM
suka sangat...buat pungguk...
mitos tentang bulan...
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