- published: 22 Aug 2010
- views: 136026
3:04
Three Minute Philosophy: Heraclitus & Parmenides
The Pre-Socratic philosophers, Heraclitus and Parmenides. Metaphysics, determinism, fatali...
published: 22 Aug 2010
Three Minute Philosophy: Heraclitus & Parmenides
The Pre-Socratic philosophers, Heraclitus and Parmenides. Metaphysics, determinism, fatalism, and the unreality of free will.
- published: 22 Aug 2010
- views: 136026
11:59
Introduction to Heraclitus
In this lecture we will learn about the life of Heraclitus, and his three main intertwined...
published: 05 Dec 2012
Introduction to Heraclitus
In this lecture we will learn about the life of Heraclitus, and his three main intertwined ideas: 1) everything is in flux, 2) the world is an ever living fire, and 3) war is the father of all.
- published: 05 Dec 2012
- views: 791
10:01
The Pre-Socratic Philosophers: 2 (Anaximander, Heraclitus)
A documentary about the ideas of the first philosophers of early Greece. Thanks to all wh...
published: 15 Sep 2011
The Pre-Socratic Philosophers: 2 (Anaximander, Heraclitus)
A documentary about the ideas of the first philosophers of early Greece. Thanks to all whose footage I used to make this possible!
- published: 15 Sep 2011
- views: 4151
3:56
King's College London: History of Philosophy's Greatest Hits: Heraclitus
Episode One: Heraclitus: You can't step into the same river twice
Peter Adamson, Professo...
published: 10 Aug 2012
King's College London: History of Philosophy's Greatest Hits: Heraclitus
Episode One: Heraclitus: You can't step into the same river twice
Peter Adamson, Professor of Ancient and Medieval Philosophy at King's College London and host of the History of Philosophy podcast (http://www.historyofphilosophy.net), discusses the Presocratic philosopher Heraclitus and asks whether he really believed that all things are in flux like a river.
- published: 10 Aug 2012
- views: 1564
15:37
Heraclitus
http://www.PiousFabrications.com
"Like" Pious Fabrications on Facebook: http://www.facebo...
published: 05 Aug 2011
Heraclitus
http://www.PiousFabrications.com
"Like" Pious Fabrications on Facebook: http://www.facebook.com/PiousFabrications
Book study round-up page: http://www.piousfabrications.com/p/book-study.html
- published: 05 Aug 2011
- views: 913
9:24
Heraclitus and the Buddha on Impermanence
by Cale Bakken through Professor Rev. Dr. James Kenneth Powell II, opensourcebuddhism.org
...
published: 06 Jul 2008
Heraclitus and the Buddha on Impermanence
by Cale Bakken through Professor Rev. Dr. James Kenneth Powell II, opensourcebuddhism.org
This project investigates the similarities and differences between the Buddhist and Heraclitean views of impermanence. Heraclitus was that ancient Greek who said one never steps into the same river twice. Buddha saw impermanence as at the heart of human tragedy: we grasp at the impermanent, always wishing for permanence. You decide whose view is more profound
- published: 06 Jul 2008
- views: 4943
4:01
The Philosophy of War - Part 1 - Heraclitus On Nature
The Philosophy of War thinks about War.
WHAT IS WAR? Set to the D-Day Landings at Norm...
published: 24 Nov 2010
The Philosophy of War - Part 1 - Heraclitus On Nature
The Philosophy of War thinks about War.
WHAT IS WAR? Set to the D-Day Landings at Normandy on June 6 1944, Part 1 focuses on this question and the views of the pre-Socratic philosopher Heraclitus. The Ancient Greek was one of world's first natural scientists, trying to understand the ways of the world in terms of its law-like, physical properties. Famous for his idea that one cannot step twice into the same river, his idea that war is the nature of reality anticipates the modern physics and evolutionary biology. The insight of the thinker once known as the "dark one" could not have been more bright.
Part 1 ends with the beginnings of an introduction to Carl von Clausewitz's theory of war, contained in his book On War. He thought that War is the continuation of politics by other means. It is both a battle of wills and a trial of strength.
See Part 2 here: http://www.youtube.com/watch?v=8Ni-KDQORaQ
- published: 24 Nov 2010
- views: 6522
1:20
Heraclitus | History in Minutes #4
The renamed "weeping" Heraclitus was an intelligent but melancholic philosopher who formul...
published: 30 Aug 2011
Heraclitus | History in Minutes #4
The renamed "weeping" Heraclitus was an intelligent but melancholic philosopher who formulated theories about the creation of the world.
- published: 30 Aug 2011
- views: 799
1:57
Heraclitus Warrior Speech by Dr. Paul Whitesell
Speech given by Indiana State Police Superintendent Dr. Paul Whitesell to fellow police of...
published: 05 Jul 2011
Heraclitus Warrior Speech by Dr. Paul Whitesell
Speech given by Indiana State Police Superintendent Dr. Paul Whitesell to fellow police officers.
- published: 05 Jul 2011
- views: 11758
4:58
Underrated Philosophers 1: Heraclitus and Parmenides
This is the first in a series of videos that will discuss philosophers
whose contributions...
published: 02 Feb 2013
Underrated Philosophers 1: Heraclitus and Parmenides
This is the first in a series of videos that will discuss philosophers
whose contributions to the field of philosophy have not been fully
appreciated. This video is about the presocratic philosophers
Heraclitus and Parmenides. The former argued that reality was always
changing, while the latter (and his student, Zeno) claimed that there
is only unity in the universe and that change is impossible. Despite
the fact that they are relatively obscure, they were direct influences
to Socrates, Plato, Aristotle, Hegel, and many other philosophers who
we are much more familiar with. Without them, Western philosophy would
be drastically different.
- published: 02 Feb 2013
- views: 90
4:43
We Didn't Start The Fire (Heraclitus's song from KUTM)
Heraclitus's song from "King Under the Mountain", a philosophy RPG musical inspired by Dre...
published: 22 Nov 2011
We Didn't Start The Fire (Heraclitus's song from KUTM)
Heraclitus's song from "King Under the Mountain", a philosophy RPG musical inspired by Dresden Codak's "Dungeons and Discourse". See http://squid314.livejournal.com/306912.html for more information.
Lyrics by Scott Siskind, vocals by Mike Blume and Alicorn.
- published: 22 Nov 2011
- views: 757
Vimeo results:
0:29
Heraclitus
Daniel G. Baird
Heraclitus, 2009
3d generated fire (Maya Dynamation physics simulator)...
published: 29 Dec 2009
author: Daniel Baird
Heraclitus
Daniel G. Baird
Heraclitus, 2009
3d generated fire (Maya Dynamation physics simulator)
3:13
heraclitus
experimental film.
dedicated to robert breer.
music- "walking" by the tumbled sea
myspace....
published: 28 Jul 2010
author: Grant Kopplin
heraclitus
experimental film.
dedicated to robert breer.
music- "walking" by the tumbled sea
myspace.com/thetumbledsea
16:19
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER ...
published: 13 Aug 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS (HQ) - PART גשטאלט - מודעות - חלק 1
HQ. gestalt work on awareness, part 1. hebrew subtitles added.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Perls calls them the "essences" of a patient's personality, or we can say he is working from his "centers", stretching those sounds, moves and psychological motivations in as many creative directions as he can. I monitor closely to be sure he is not faking it, the way most actors end up doing since they do not have the centers to begin with.
Before the performer begins working with others doing improvs and scenework, there is an important transitional stage in the work in which I help him get comfortable using his very personal Gestalt material freely as creative material. He needs to shift from seeing himself as a patient to enjoying the role of an artist of the
29:21
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is...
published: 01 Jan 2011
author: franklyn wepner
GESTALT WORK ON AWARENESS WITH BEL part 3 (HQ)
part 3 of a two hour gestalt session on awareness with actress bel baca. the focus here is "the rhythm of contact and withdrawal", alternating between contact with the environment and withdrawal into the void of "not knowing" to discover what fantasies and new ideas are waiting to emerge into awareness there.
TO VIEW OR DOWNLOAD ALL OF MY VIDEOS, PLUS 1500 PAGES OF MY EXPLANATORY ESSAYS (ALL AT NO CHARGE) PLEASE VISIT MY WEBSITE: franklynwepner.com. ALSO PLEASE NOTE MY NEW EMAIL ADDRESS, IF YOU WOULD LIKE TO SHARE WITH ME ANY COMMENTS ABOUT MY WORK: franklynwepner@gmail.com. IN THE LISTING OF VIDEOS THE LETTERS (HQ) REFER TO A HIGHER QUALITY VERSION OF THE VIDEO, WHICH IS AVAILABLE TO YOU IF YOUR COMPUTER CAN HANDLE IT.
BY FRANKLYN WEPNER SEPTEMBER 1, 2006
HOW I WORK: GESTALT DREAMWORK AS THEATER AND PROPHECY
GESTALT DREAM WORK AS PREPARATION FOR PERFORMING
Since 1975 I have been using Gestalt work on awareness, dreams and personal relationships as a way to train and direct performers. The basic principle is simple. I use the Gestalt work to peel the onion of layer after layer of social cliches, ego games and unfinished personal business, and then I do the reverse process reconstituting the onion in the form of characters or other artist structures. The existential message of the dream becomes the superobjective or action of the tragedy, and then I build up the way the performer handles the characters and the plot around that.
My usual procedure is to begin the training with three Gestalt sessions, one on one. The first session, two hours long, deals with the three zones of awareness. During the first hour I simply let him relate what he aware of, since I want to know how he operates before I start meddling with his life. This is important since overall during the Gestalt sessions we are peeling the onion of cliches and games to get to authentic action, and later we will need all of those layers to rebuild the onion as characters involved in the unfolding action of a drama. We need his cliche and game layers for the beginning of the action in Act One as much as we need his authentic action at the end of the dramatic action for Acts Four and Five of a tragic drama.
During the second hour of the first Gestalt session on awareness I attempt to guide him towards a balance of the zones of awareness: outer zone awareness of the environment, inner zone awareness of his body, and fantasy zone awareness of his daydreams. The second and third Gestalt sessions are each three hours long, and each is a typical Gestalt dreamwork session as presented by Fritz Perls in Gestalt Therapy Verbatim. The performer tells the dream in the here and now, identifies with (play acts) several of the main images of the dream in dialogues with each other, and experiences the rhythm of contact and withdrawal. That is to say, after each major dialogue of polarized sides of himself (the contact part) he is instructed to close his eyes, enter his body awareness and daydream (the withdrawal phase of the rhythm).
Since my goal is theater as well as healing, whenever possible during the Gestalt dreamwork I encourage lots of expression using sound and movements. I work with a palette of about 200 different types of recorded musical excerpts, and whenever appropriate I ask him if that image or emotional state were part of a movie what sort of music might be the sound track. Then I find something close to that in my palette of musical colors and ask him to express the mood using the music along with his vocalizing and expressive movements. While he is doing the entire session I spend most of my time jotting down near verbatim notes and making stick figures of his poses and movements, since later in the work I will feed all this back to him and encourage him to explore using it as creative material for acting, dance or whatever his medium is. Taping the session is less useful, since then I would need to spend too much time replaying the tapes. Taking notes live forces me to sort out the wheat from the chaff very efficiently, even at the cost of not observing or notating every detail.
WORKING OUT FROM YOUR CENTERS
After the three introductory one on one Gestalt sessions, session number four is for feedback and discussion of the results. I show him in my notes and diagrams all of the stages of competed and uncompleted actions, and together we search for characters in the theater literature that have similar patterns of action. Is he a Hamlet type, or an Oedipus type, for example? In contrast to the usual practice in acting classes, his first acting assignment probably will be a monologue from a serious tragedy, since I want him to begin with a dramatic action with which he can identify totally. In this process he is using his major Gestalt moments as what Michael Chekhov in his book "To The Actor" labels "psychological gestures". Per
Youtube results:
2:39
Coro Jovem do Estado de São Paulo- C. V. Stanford - Heraclitus
C. V. Stanford - Heraclitus
Coro Jovem do Estado de São Paulo
Concerto realizado no audi...
published: 28 Oct 2012
Coro Jovem do Estado de São Paulo- C. V. Stanford - Heraclitus
C. V. Stanford - Heraclitus
Coro Jovem do Estado de São Paulo
Concerto realizado no auditório do Masp 21/10/2012
Regência; Fernando Tomimura
- published: 28 Oct 2012
- views: 113
2:58
The Big Idea - Heraclitus and the Doctrine of Flux
A short documentary we made for our college project. Heraclitus was an ancient Greek philo...
published: 27 Nov 2011
The Big Idea - Heraclitus and the Doctrine of Flux
A short documentary we made for our college project. Heraclitus was an ancient Greek philosopher who was most famously known for his Doctrine of Flux. This film explains his theory.
- published: 27 Nov 2011
- views: 340