Exploring The Social, Moral, And Temporal Qualities Of: Fill & Download for Free

The Pros and Cons of Star WarsAlthough I was exposed to Star Wars first, as I grew older and more discriminating, Star Trek offered me more substance and what I needed as a more mature adult. I agree with what many have said about Star Wars being very black and white, pitting good against evil, and filled with common archetypes. Lucas drew heavily on Japanese film and culture, and the mythology of Joseph Campbell. His movies are epic, and rightfully called space operas. They have a very overblown, deeply felt, dramatic tone to them, and are very operatic in style.When all is said and done, I can't help feeling that Star Wars really is a franchise aimed at young people, and the young at heart. The action is exciting, relatively easy to follow, and filled with all kinds of colorful costumes, freaky alien makeup, thrilling sound effects, and exquisitely detailed models and/or CGI. There are few deep philosophical questions, and Lucas doesn't ask much of us. It's thrilling, in the way that Stephen Spielberg movies are thrilling, and it's not surprising that the two are friends and borrow liberally from each other. Just as Spielberg provides all the excitement of hunting a giant shark or being chased by a Velociraptor, Lucas provides us with captivating excitement, while spending less time filling in the deeper inner life of the characters. The emotional investment of the characters is bifurcated, with deep allegiances to good (the rebels/Republic) and bad (The Galactic Empire). Luke dresses in white at the beginning, and Darth Vader is in black. Every design choice in the films reinforce this dialectic, and make it abundantly clear who is who, so you never have to question who the bad guy is. The emotions soar in isolated scenes, but the feelings are relatively simple and unrefined. There is little philosophical musing or deep cerebral action happening throughout the franchise. There's little nuance here. That's not Star Wars. It's exactly what it says it is, and you know exactly what you're getting. I still love it, but more in a nostalgic way, summoning my boyhood infatuation with the films. When I want something more filling, I turn elsewhere.The Virtue of Star TrekStar Trek, on the other hand, started right out of the gate as something new and provocative. It didn't take long to notice that this Sci-Fi series was going to be something drastically different than anything that had come before. This was no Lost in Space or Forbidden Planet. In truth, Gene Roddenberry drafted a proposal for the science fiction series that he publicly marketed as a Western in outer space. He called it a so-called "Wagon Train to the Stars" -- taking the name directly from the popular Western TV series. In that show, settlers explored the frontier in peace, but encountered hostility along the way. Their strong moral code allowed them to solve disagreements and meet new people and civilizations. Sound familiar? He privately told friends that he also was modeling it on Jonathan Swift's Gulliver's Travels, intending each episode to act on two levels: as a suspenseful adventure story and as a morality tale.Within the first few episodes, the show set itself apart from its peers, and offered a thoughtful reflection of 20th Century problems and unenlightened prejudices, while comfortably distancing itself in the future. Up until that point, much Science Fiction had been cheesy, shlocky, campy, and silly in its portrayal of the future. The genre had become waded in technology and ridiculous depictions of space gadgetry. Of course, Star Trek had its own technobabble and gadgets, but they were never ostentatious or showy. They were functional and utilitarian, and built on technology we already had. Or at least could envision. The show told deeply inquisitive stories, and offered a Universe like our own, except better. And all of this was already apparent by the fifth episode!Although Star Trek: The Original Series (TOS) isn't my favorite series, it set the bar high. The first significant thing it had going for it was its multicultural cast, including three Jewish actors (Shatner, Nimoy, Koenig) playing bridge officers. Even though the show never acknowledged the ethnicity of its actors, the casting was a symbolic nod to what kind of show this would be. Secondly, there was an actor playing an accented Scotsman, an actor playing an accented Russian, a Japanese man, and a black female communications officer who spoke Swahili. This was one of the first instances of a black female in a lead role. This kind of diversity was almost unheard of in network television at the time, and all throughout the series, Roddenberry gave substantial roles to minorities.This universe was set three hundred years in the future, after the third world war and the eugenics war. Humanity was peaceful, and had rid itself of greed, capitalism, the need for currency, and war. Starfleet Academy is where the future's recruits to Starfleet's officer corps will be trained. It was created in the year 2161, when the United Federation of Planets was founded. By the time Kirk is captaining the Enterprise, Starfleet and the Federation are roughly a hundred years old. Exploration is out of its infancy stage, but still wild and not totally regulated. Needless to say, Kirk and his crew have a LOT of latitude.The Soul of Star TrekPerhaps the soul of the show can be found directly in the guiding principle of the Federation and Starfleet Academy. It's a moral code, by which the explorers live by. The Prime Directive, also known as Starfleet General Order 1 or the Non-Interference Directive, was the embodiment of one of Starfleet's most important ethical principles: noninterference with other cultures and civilizations. At its core was the philosophical concept that covered personnel should refrain from interfering in the natural, unassisted, development of societies, even if such interference was well-intentioned. The Prime Directive was viewed as so fundamental to Starfleet that officers swore to uphold the Prime Directive, even at the cost of their own life or the lives of their crew. A premise such as this was profoundly unique to Star Trek, and revolutionary for the era. Roddenberry clearly had Native American genocide, African slavery and Civil Rights, and other Colonial interference and subjugations in mind when he crafted such a directive. Over the fifty years prior to the show, Colonial governments were being overthrown, and countries were gaining their independence and autonomy from various imperial states. The devastation left in the wake of colonial imperialism can still be deeply felt in nations across Africa, Asia, South America, and elsewhere. Roddenberry deeply believed in a future free of unnecessary meddling or interference.Star Trek: The Original SeriesThere were just three short seasons before being cancelled, by my land, what a magnificent run. Granted, the production values were god awful, and the acting was almost as bad. By today's standards, the show is often laughable, with flimsy sets and unimaginative multi-colored food morsels (they didn't even have room in the budget for prop food). However, those three seasons produced some of the most iconic scripts, with some of the most profound and philosophical ideas ever put forth on television. Although sometimes the dialogue was laughable and contrived, the stories in those early years were really innovative, and simply good science fiction. The Enemy Within is a nice riff on Dr. Jeckyll and Mr. Hyde, and asks us to examine the evil within us all. It explores where our assertive and aggressive sides come from, and acknowledges that we must invariably draw on our reptilian self-preservationist savage from time to time. It's not pretty to look at that side of ourselves. Dagger of the Mind raises questions about crime and punishment and the ethics of certain methods of rehabilitation. It might be even more relevant today, with our bursting, eroding prisons. The Conscience of the King is a great premise, with a former tyrant and mass butcher hiding within a Shakespeare troupe as an actor. He might as well have been Eichman or Mengele. Return of the Archons is the inspiration for the recent Purge movies. One night a year, people go crazy and kill, for the sake of peace and calm in society the rest of the time. Yet, like today, the exploited and exploiters aligned with the have and have-nots, and it becomes clear who's being purged. In Space Seed, we are introduced to the inimitable Khan, one of the greatest characters in the Trek universe. and introduced to a superhuman man and product of the Eugenics Wars, a shameful and destructive period in Earth's late 20th Century. The genetically engineered Khan is a reminder of Hitler's own obsession with breeding a master Aryan race. The episode City on the Edge of Forever, was artfully scribed by the famous Science Fiction writer, Harlan Ellison. This episode is so unlike the others, and has a special grace and elegance to it. We see Kirk genuinely fall for a woman, and ultimately have to let her die in order to not pollute the temporal timeline. This was really the first Trek to introduce the idea that our interference could change the course of time. This would later be known as the Temporal Prime Directive. This Gateway of Forever construct was used later in TNG, when Picard had to step through, and ended up on a Romulan ship. Although cancelled after just three short years, Star Trek set the tone for the rest of the series, and set the bar high for future generations. It was the face that launched a franchise, and is quite honestly, the series by which all others are measured.I'm currently on my fourth viewing of all six series (including The Animated Series), and every time I go back to TOS, I'm a little skeptical, knowing it's a bit cheesy, and hard to watch at times. However, there are at least TWO things that TOS got right. The first thing is the scripts. Those stories were strong enough to carry the show, no matter what happened. They were bona fide works of science fiction, and as good as anything in the genre. Secondly, the relationship between Kirk, Spock, and Bones was so solid and so affectionate, you could tell those three men really liked each other. They had such a short hand, a familiarity, and lighthearted chemistry. You would have thought they'd been acting together for over 20 years. That trifecta relationship was really what the show rested on. Had Jeffery Hunter stayed with the show, I don't think it would have been nearly as successful. Despite his absurd (but lovable) over-the-top and blustery acting, Shatner brought a charming energy, which permeated through the whole cast.Star Trek: The Next GenerationAlthough the film franchise was launched in 1979 -- roughly a decade after the first series went off the air -- it took nearly 20 years for another Star Trek show to hit the airways. That show was the much beloved Star Trek: The Next Generation. Think of it. What big shoes to fill. In that 20 years, a revolution had formed -- a groundswell of fiercely loyal fans devoted to what...three short seasons of a cheaply produced science fiction show from the late '60s! By then, Star Trek Conventions were popping up all over the world, and the fan base was deep and committed. I myself attend Conventions every summer! We all know Star Trek was much more than a cheap science fiction show. It was a movement. It was the thinking man's science fiction, and a font for how we approach the universe, ourselves, and each other. It was social commentary. It was brawn and brains. Action and exploration. TNG was great, and did a remarkable job filling those shoes. It was different and new enough to be fresh and above reproach, yet still recognizable as in the Trekkie universe, upholding all of the same ideals and asking us even more nuanced questions. The first couple seasons were rough (embarrassingly bad quality writing that was at best prosaic and contrived, and at worst, creepily sexist and racist), but it showed marked improvement after that. The major improvements upon the original were a significantly higher budget and convincing production values, and more importantly, an arguably better cast -- acting wise. That's not to say the iconic cast from TOS was horrible -- because they weren't -- but they were generally a bit cheesy and overblown, allowing us to love them for the charm of their personalities over their innate acting ability. TNG had a legitimate stable of trained actors, led by the inimitable Shakespearean stage actor, Patrick Stewart. He set the tone for the whole show. His serious demeanor and commanding presence leant the show gravitas, and we instantly knew we were in capable hands. Probably the next best actor was Brent Spiner, in a remarkable turn as Data, the android who so desperately longs to be human. His earnest and inquisitive, while often unintentionally funny, demeanor stand as not only the levity of the show, but ironically its heart. The tin man provides the heart and soul of the ship and crew, nay, its very mission. The rest of the cast varies in talent (and in annoyance factor -- I'm looking at you Deanna and Lwaxana Troi...Beverly and Wesley Crusher!) But for the most part, the cast was competent and effective. Sadly, my final assessment is that although it has some of the best episodes Star Trek has ever produced (Chain of Command, Ship in a Bottle, Darmok, The Measure of a Man, Relics, to name a few) and perhaps the two best characters -- Picard and Data -- the show's writing was uneven and inconsistent, making it sometimes fall short of the mark. The show is excellent, but it would take one more incarnation to really master the formula.Deep Space Nine Captures Lightening in a BottleAs the various series matured, Star Trek tackled more philosophical ideas, and challenged its viewers to think more deeply. In my humble opinion, Deep Space Nine (DS9) stands as the pinnacle in Star Trek accomplishment. I know many people disparage it because it takes place on a space station, and not a starship, thus defying the mission of the show. That's bullshit. The show has by far, the most accomplished cast of actors, each playing really unique characters. including one Bajoran, a shapeshifter, a Ferengi, and later a Klingon. Add in two terrific Cardassians, and Lissipian barfly named Morn (an anagram spoof on Cheers' Norm) and you have the most talented cast of all. Sure, TNG had Picard and Data, but it also had Troi, Crusher and Yar. DS9 cast is terrific across the board. There simply is no offensively bad actor on the show.In terms of scripts, I would venture to say that few science fiction scripts in the history of episodic television have rivaled DS9 at its best. The scripts are so well articulated, and so intricately plotted, that character arcs are well developed and extended perfectly over the course of the seven year run. Dialogue is elegant and intelligent, and the plots are interesting and engaging. DS9 at its best perfectly mastered the balance and elegance of a solid Star Trek episodes. The episode would be both cerebral and moral, ask questions the audience had to answer, and still provide plenty of action to keep you engaged. TOS and TNG might have some stellar episodes throughout, but DS9 wins for most consistent quality. And most evenly and impressively acted by every cast member.I only need name a few transformative DS9 episodes to make my point. Far Beyond the Stars envisions the events of Deep Space Nine as the creation of Benny Russell, a struggling science-fiction writer living in 1950s New York City who dreams of an escape from the racism and social tumult that surrounds him. He also looks exactly like Ben Sisko, giving the rest of the cast a chance to ditch their makeup and prosthetics to appear as his friends, co-workers and tormentors. This episode may be low on production costs, but it extraordinarily high on concept. In The Visitor it's hard to escape a viewing without sobbing uncontrollably. This episode gets to the soul of what Star Trek is ultimately supposed to be about: the human condition. After the unexpected death of his father, Jake spends a lifetime figuring out how the boy that he was can be reunited with the dad that he so desperately needed. At its core, Star Trek is not about technobabble or sci-fi, and this episode perfectly captures that. It is a story about love, loss and self-sacrifice that is so powerful that it transcends the genre and devastates by its sheer beauty. In Duet a Cardassian man arrives on the station suffering from an illness that he could only have contracted at a Bajoran labor camp during the Occupation. While in custody, he boastfully claims to be the head of the labor camp, responsible for countless Bajoran deaths. Major Kira (a deeply bitter and resentful Bajoran) leads an investigation to determine whether he is actually a notorious war criminal. The show explores mercy, redemption, forgiveness, guilt, and the insidious effect of hatred and vengeance. It is one of the most powerful hours you'll ever spend in front of a television.Star Trek or Star Wars?As much as I enjoy the Star Wars films, they are blockbuster candy. They're exciting and thrilling, and are undeniably fun. At the same time, they are also really sweet and fill me up for a time, but they're not high in nutrition. Whereas, Star Trek rejuvenates me each time I return to the well. I am inspired by its lofty ideals and Roddenberry's hope for a better tomorrow. The movies and shows are intellectually engaging, morally inquisitive, and challenge me each time I watch. Star Trek pushes us to reexamine our world, and to go boldly go where no one has gone before. If Star Wars is my youthful idealism, Star Trek is my cautious optimism, tempered by time and experience. That sustains me.

The painter is before his canvas, the colors are on the palette, the model is sitting … do we foresee what will appear on the canvas? We possess the elements of the problem; we know in an abstract way how it will be solved, for the portrait will surely resemble the model and … also the artist; but the concrete solution brings with it that unforeseeable nothing which is everything in a work of art. And it is this nothing that takes time. Nought as matter, it creates itself as form. The sprouting and flowering of this form are stretched out on an unshrinkable duration, which is one with their essence. [CE 340–1 (link below)]Bergson’s corpus includes:TFW: Time and Free Will (1889)in which he argues the debate between freedom and determination is a false dichotomy resulting from the conflation of time with space.MM: Matter and Memory (1896)a kind of sequel, in which he defends his thesis that the body is an “instrument of action” by arguing for the division then attempting reconciliation between it and mind.L: Laughter (1900)a minor work in which he sets out to define the comic with his idiosyncratic conceptual toolkit.IM: An Introduction to Metaphysics (1903)an important monograph in which he advances metaphysical speculation as an intuitive and not an intellectual affair.CE: Creative Evolution (1907)his magnum opus, the high noon of his project, immensely popular upon publication and cited in deliverance of the 1927 Nobel Prize in Literature, in which he expounds a natural philosophy of life with the so-called “vital impulse” as its first principle.MW: The Meaning of the War (1915)a short profound address he delivered on 12 December the previous year as President of the Académie des Sciences Morales et Politiques.ME: Mind-Energy (1919)a collection of lectures and essays of mixed quality from the prior two decades concerning the nature of consciousness.DS: Duration and Simultaneity (1922)in which he explains his disagreement with Einstein — rather, with those who attempted to derive philosophical import from Einstein’s theory of relativity (controversial; he disallowed reprints after 6th ed.).TSMR: The Two Sources of Morality and Religion (1932)in which he finally brings his distinctive onto-epistemological dualism to bear on issues ethical, political, and theological.CM: The Creative Mind (1934)a collection of prior articles (including IM) plus a new two-part introduction concerning the method of philosophical intuition.Most impactful are TFW, MM, and CE.Bergson’s significant ideas include:Durée (“Duration”) — the ineffable subjective experience of time’s passage; a qualitative multiplicity only accessible by way of Intuition; the mobility of duration (which cannot be adequately symbolized) contrasts with the spatial understanding of time which is formed by the Intellect (represented by the physicist’s [math]t[/math]).Bergson singled out duration as the pivotal concept around which the rest of his philosophy revolves.[D]uration and motion are mental syntheses, and not objects. [TFW 90]We perceive duration as a steam against which we cannot go. It is the foundation of our being, and the very substance of the world in which we live. [CE 39]Onto-epistemic dualism —AnalysisIntellectual (understanding)relative knowledgequantitative magnitudesstatic, inertspatial extensionversus Intuition(sort of) Instinctual (feeling)absolute knowledgequalitative intensitiesdynamic, mobiletemporal duration[A]nalysis operates always in the immobile, whilst intuition places itself in mobility…. There lies the very distinct line between [them]…. The real, the experienced, and the concrete are recognized by the fact that they are variability itself; the element by the fact that it is invariable. And the element is invariable by definition, being a diagram, a simplified reconstruction, often a mere symbol, in any case a motionless view of the moving reality. But the error consists in believing that we can reconstruct the real with these diagrams … from intuition one can pass to analysis, but not from analysis to intuition. [IM 41–2]Closed versus Open Morality — the former belongs to closed societies with static religion sourced from the demand to meet basic individual needs; it is exclusive, concerned with war and destruction; it ensures social cohesion by fabulating gods and imposing rigid dogma. The latter belongs to open societies with dynamic religion sourced from novel emotion and mystic transcendent experience; it is inclusive of everyone, progressive, unfixed, concerned with peace and love and creation; it eschews received doctrine in favor of an open-ended commitment to harmony.Never shall we pass from the closed society to the open society, from the city to humanity, by any mere broadening out. The two things are not of the same essence. The open society is the society which is deemed in principle to embrace all humanity. A dream dreamt, now and again, by chosen souls, it embodies in every occasion something of itself in creations, each of which, through a more or less far-reaching transformation of man, conquers difficulties hitherto unconquerable. But after each occasion the circle that has momentarily opened closes again…. [TSMR 256]Élan vital (“vital impulse”) — akin to conatus; the ultimate metaphysical principle of existence, the source of creative evolution in nature; by opposing the downward determined entropic pull of inert matter it animates all (living) beings and impels them to fill every possible ecological niche, driving by endless origination and variation the ascent of life and order up the ladder of being toward ever-grander levels of complexity, efficacy, and sophistication. A kind of force which maximizes indetermination.[T]he “vital principle” may indeed not explain much, but it is at least a sort of label affixed to our ignorance, so as to remind us of this occasionally, while mechanism invites us to ignore that ignorance. [CE 42]Indeterminism — a kind of metaphysical creativity, akin to Peirce’s tychism; the attitude or idea that originality (novelty, spontaneity, unpredictability, etc.) constitutes a fundamental feature of the world … “the idea of a whimsical Nature, in which caprice plays a part no less important than necessity” [TFW 212].[If] the future is bound to succeed the present, it is because the future is not altogether determined at the present moment … there is unceasingly being created in it … something unforeseeable and new…. The duration of the universe must therefore be one with the latitude of creation which can find place in it. [CE 339–40]Bergson’s main contributions to philosophy include:his exploration of the intersection of processualism (incl. dynamism, vitalism, evolutionism, indeterminism, etc.) and pragmatism (incl. empiricism, activism, etc.), which was prescient.his belief in the viability of philosophical intuition, which has for the most part been overshadowed by later developments in mathematics and science, but (due in no small part to its mystical redolence) has gained some traction in theological and continental circles, and is perhaps overdue for sincere reconsideration.his perspicacious and poetic prose, which is worthy of being read in its own right, as an aesthetic object, regardless of whatever factual content it may or may not contain.Excepting process theology, Bergson has most strongly impacted continental philosophy, and that via Deleuze (note I’m ambivalent about his interpretations, e.g., whether: intuition really is or ought to be a method, multiplicity is a useful concept, the actual-virtual is a sensible distinction, etc.). It may very well be that, for present and future logicians and scientists, Bergson’s work will be relegated to dusty bookshelves as an outmoded obscure curiosity. But — having enjoyed devoting a significant portion of my 2018 to the study of his work — I’d like to think he was sagacious enough to have something still to offer us. At least his ideas about memory and metaphor were prescient. If nothing else, then his belief in the ever open possibility for progress, his commitment to assist the advance of our better natures, his steadfast faith that we can one day bear the fruit of our best selves, live harmoniously, become whole.Mankind lies groaning, half crushed beneath the weight of its own progress. Men do not sufficiently realize that their future is in their own hands. Theirs is the task of determining first of all whether they want to go on living or not. Theirs the responsibility, then, for deciding if they want merely to live, or intend to make just the extra effort required for fulfilling, even in their refractory planet, the essential function of the universe, which is a machine for the making of gods. [TSMR 306]

Friedrich Nietzsche, (1844–1900), has been severely unfortunately misunderstood for over 100 years now. Friedrich Nietzsche was not a political, social, or materialistic ogre. Friedrich Nietzsche actually was a gentle soul. Friedrich Nietzsche does not deserve the political and social perceptional and opinionated quality of the academically intellectual hermeneutical interpretations of Friedrich Nietzsche. Friedrich Nietzsche was seeking some semblance of an Absolute Conceptual Awareness of Good existing far “beyond” any personal, earthly reality perceptual awareness of “good and evil.” One day, Nietzsche was out, walking about, in the rain, when Nietzsche became aware that, in the distance, there was an elderly women attempting to avoid the water that accumulates along the curbs of streets when it rains. No gentleman would offer the elderly women any assistance. Before Nietzsche could reach the women, the women plummeted herself, not able to trespass the width of the water, awkwardly falling herself into the water hitting herself onto the curb. Assistance then did come to the water-soaked, injured women. Nietzsche returned to his home where he lived, placing himself down-trodden in spirit into his boarding house bedroom. Nietzsche would physiologically mentally deteriorate, not before writing many aesthetic, philosophical papers. After Nietzsche’s death, it would be Nietzsche’s sister who would plagiarize her brother’s aesthetic works designing Nietzsche, pragmatically, materialistically satisfactorily for herself, as an inspirational insightfulness for Adolf Hitler, (1889–1945). So historical readings tell, if that story can be believed. Nietzsche was forty-five(45) years into his life before Hitler was even born.Friedrich Nietzsche was neither a nihilist nor an existentialist. Nietzsche sadly experienced that every socio-political construct of “good and evil,” “God,” “morality” were nothing but hollow socio-political, pragmatic temporary constructs having no worthy value, rather, were, in their end, both politically and socially meaningless. Socio-political constructs of “good and evil” were baseless, senseless, and unreasonable toward Nietzsche’s search for something Beyond Good And Evil.Martin Heidegger, (1889–1976), in Heidegger’s magnus opus, Being and Time, is searching for his own exploration of Aristotle’s metaphysical ontological “being ness.” Heidegger’s “being” as Dasein exists as Dasein’s ontological progress as “being” needing to temporarily stop and “be finitely itself” within the temporary pockets of finite time that “being” will phenomenologically find “being,” without ever losing that ontological nature that is “infinite being ness for the sake of “being ness.” (Aristotle’s Nous Intellect existing in Infinite Soul) Heidegger was also influenced by Immanuel Kant, (1824–1808), theory of “a priori” knowledge awareness, Aristotle’s “Nous” as Abstract Intellect holding “a priori” knowledge awareness. Practical Intellect Practical and Pragmatic Phenomena Level of Knowledge Awareness can “in finite temporary time” come, by sense experiences of Earthly Reality, to acquire Abstract Intellect Noumena Awareness. Only through Abstract Intellect can Human come to understand abstract absolute, universal, everlasting concepts of moral and reason (Kant).Edmund Husserl, (1859–1938), theoretical transcendental reduction as phenomenological bracketing held compliment to Kant’s Practical Intellect Phenomena Awareness, and, added to Kant’s theoretical suppositions the need for Phenomena Bracketing. Husserl’s Phenomena Bracketing influenced Heidegger theory of Dasein as phenomenal time bracketing into “being-in-the-world,” “presence-at-hand,” “having-to-be-open,” “readiness-at-hand,” “un- readiness-at-hand.”Wilhelm Dilthey, (1833–1911), a German historian, psychologist, sociologist, hermeneutic philosopher would influence Heidegger theory. Dilthey emphasized the “intrinsic temporality toward all understanding” (Heidegger’s Dasein). Dilthey emphasized that “understanding, especially as signing as linguistic methodology, was dependent upon knowledge of past world views, hermeneutical, perceptual interpretations, shared cultural knowledge. Specific words signed linguistic meaning to the receiver, as listener, or, reader. Reader sought specific words that “word signed a specific known significant meaning” to the reader. Specific words came to mean significant meanings as life experienced awareness of experience with knowledge of history, literature, art, cultural customs. Humans perceptually hermetically experienced their own life experiences, then, remembered them as their Intellect (Nous-Dasein) time-remembered. (Being in Time).