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Beautiful Something

#3 Education: Education is a limited and costly resource in Africa so SBSG is supporting village schools to help with children's school fees. SBSG is also creating vocational education opportunities for adults. Education is the key for sustainability and economic empowerment for the beautiful people of Kenya to break the cycle of poverty.

Beautiful Something

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No matter your sexual preference, Beautiful Something is probably the best film of the year about love and sex. A Jarmusch-esque criss crossing night of searching by several lonely souls in the city. What makes the film work best however, is that the director never pretends to understand exactly what any of these characters truly need or want, it's a bold ambiguity, but something that rings eerily true when I contemplate my own experiences with love and sex. Don't let this film slip by, one of the years finest.

little hidden gem with my own private idaho vibes. theres things i choose to believe are references to mopi. i mean scotty and mike ??? i cried. honestly i was about to give up watching this, i have a movie block since scream and this was boring 20 min in. but then it gets more interesting, poetic, beautiful. the character building, paralels and conversations. just broken men looking for love, navigating expectations of life and hookup culture. the main character made me feel so bad bro cant catch a break

Definitely a beautiful something! Reminded me of closer mixed with after sex. This was just really sweet and had a good ending :) felt a lite jumbled at first but once the pieces were put together i just couldn't stop smiling. Definitely had its faults but it's very much a hidden gem.

It seems counterintuitive to suggest that having new experiences can get old. But curiously, when I travelled long enough, I realized that the newness of travel itself becomes routine. Instead of my routine being a daily commute, grinding at work, and catching an hour of exercise on my way home, my routine became riding a bus, seeing beautiful sights, having intense conversations with strangers, and then waking up the next day and doing it all over again. Suddenly, what used to be an exciting break from my ordinary life simply became my ordinary life.

BEAUTIFUL. [1] Before delving into the difficult research into the origin of the beautiful , I would first note, with all the authors who have written on the subject, that by a sort of fatality, the topics most addressed among men are rather ordinarily those least known to them; and that such is, among many others, the lot of the beautiful . Everyone reasons about the beautiful : it is admired in the works of nature: it is demanded in the productions of the Arts: at each moment its quality is conferred or denied; however, if one were to ask men with the surest and most exquisite taste what is its origin, its nature, the precise notion of it, its true idea, its exact definition; whether it is something absolute or relative; whether there is an essential, eternal, unchanging beautiful that would be the rule and the model for a subaltern beautiful ; or whether beauty is like fashions: one would immediately see divided opinions; some declare their ignorance, while others fall into skepticism. How is it that almost all men agree that there is a beautiful ; that so many among them feel strongly where it lies, yet so few know what it is?

In order to reach, if this proves possible, a solution to these difficulties, we shall begin by exposing the varying opinions of authors who have written the best on the beautiful ; we shall then offer our ideas on the same topic, and we shall end this article with some general observations on human understanding and its operations relative to the question at hand.

Plato wrote two dialogues on the beautiful , Phaedra and Hippias Major : in the latter, he teaches what the beautiful is not, rather than what it is; and in the former, he speaks less about the beautiful than about the natural love one has for it. In Hippias Major, the point is only to confound the vanity of a sophist; in Phaedra , it is to spend a few agreeable moments with a friend in a delicious locale.

M. Wolf states, in his Psychology , that there are things which please us, and others which do not; and that this difference is what constitutes the beautiful and the ugly : what pleases us is called beautiful , what does not is ugly . [3]

It is evident that Saint Augustine had gone much further in his research into the beautiful than the Leibnizian philosopher: the latter seems to claim first that something is beautiful because it pleases us; when it only pleases us because it is beautiful ; as Plato and Saint Augustine have noted quite well. It is true that he then brings perfection into the idea of beauty : but what is perfection? Is the perfect any clearer or more intelligible than the beautiful ?

All those who, priding themselves on not speaking merely out of convention and without thinking, says M. Crouzas, will want to go deep inside themselves, and pay attention to what is happening there, to the way they think, and to what they feel when they exclaim that is beautiful ; they will become aware that with this term they express a certain relationship [ rapport ] between an object and agreeable feelings or with ideas of approval, and they will come to agree that to say that is beautiful is to say, I see something of which I approve or which pleases me. [4]

We see that M. Crouzas's definition is not taken from the nature of the beautiful , but only from the effect one experiences in its presence: it has the same flaw as M. Wolf's. M. Crouzas was well aware of this; this is why he then busies himself with identifying the characteristics of the beautiful : he enumerates five: variety, unity, regularity, order , proportion .

Whence it follows either that Saint Augustine's definition is incomplete, or that M. Crouzas's is redundant. If the idea of unity does not include those of variety, regularity, order, and proportion, and if these qualities are essential to the beautiful , then Saint Augustine should not have omitted them: if the idea of unity does include these characteristics, then M. Crouzas should not have added them.

I will not attack this definition of the beautiful by the vague things it contains; I will merely point out here that it is particular [to him], and that it only applies to Architecture, or at the very least to great wholes in other genres, like a piece of eloquence, a drama, etc., but not to a word , a thought , a part of an object .

Mr. Hutcheson, famous professor of moral Philosophy at the University of Glasgow, has composed his own system: it amounts to thinking that one should no longer ask what is the beautiful , but rather ask what is the visible . [5] By the visible , we understand what is made to be perceived by the eyes; and what Mr. Hutcheson means by beautiful is what is made to be seized by the internal sense of the beautiful . His internal sense of the beautiful is a faculty with which we distinguish beautiful things, as the sense of vision is a faculty with which we receive the notion of colors and shapes. This author and his followers go to great lengths to demonstrate the reality and the necessity of this sixth sense ; and here is how they set about their task.

3. This posed, says Mr. Hutcheson, I call by the name internal senses , those determinations of the mind to be pleased or displeased by certain forms or certain ideas, when it considers them: and to distinguish the internal senses from the corporeal faculties designated by the same name, I call internal sense of the beautiful the faculty which discerns the beautiful in regularity, order, and harmony; and internal sense of the good , that which approves of the affections, actions, and behaviors of virtuous and reasonable agents. See Good.

4. Since the determinations of the mind to be pleased or displeased by certain forms or certain ideas, when it considers them, is witnessed in all men, at least if they are not stupid; without yet investigating what the beautiful is, it appears constant that there is in all men a natural sense that is particular to this object; that they agree in finding beauty in shapes, as generally as they experience pain when too close to a large fire, or pleasure in eating when they are hungry, even though there is among them an infinite diversity of tastes.

5. As soon as we are born, our external senses start to work and to transmit to us perceptions of sensory objects; and no doubt this is what convinces us that they are natural. But the objects of what I call the internal senses , or the senses of the beautiful and the good , do not present themselves to our mind so soon. Some time passes before children reflect, or at least before they give indications of reflection on proportions, resemblances, and symmetries, on affections and characteristics: only a bit later do they come to know the things that stimulate taste or internal repugnance; and this is what makes one imagine that those faculties which I call the internal senses of the beautiful and the good , only come from instruction and education. But whatever notion one might have of virtue and beauty , a virtuous or good object is an occasion for approval and pleasure, as naturally as delicacies are the objects of our appetite. And what does it matter if the first objects are presented early or late? If the senses only develop within us little by little, and one after another, would they be any less senses or faculties? And would we be welcome to claim that there really is, in visible objects, neither colors, nor shapes, because we would have needed time and instruction to perceive them, and because there would not be among all of us, two persons who would perceive them in the same way? See Sense.

6. We call sensations , the perceptions which are stimulated in our mind by the presence of external objects, and by the impression that they make on our organs. See Sensation. And when two perceptions are completely different from each other, and when all they have in common is the generic name of sensation , the faculties through which we receive these different perceptions, are called different senses . Sight and hearing, for example, refer to different faculties, one of which gives us the ideas of color, and the other, the ideas of sound: but, however different sounds may be to one another, and colors to one another, all colors are related to one sense, and all sounds to another sense; and it seems that each of our senses has its organ. Now, if you apply the preceding observation to the good and the beautiful , you will see that the cases are exactly the same. See Good. 041b061a72


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