ambiguity(什么叫作文字的张力)
资讯
2023-12-25
299
1. ambiguity,什么叫作文字的张力?
出现在中文语境中本源自上个世纪对欧美文学理论的译介,以袁可嘉为首。艾伦·退特(Allen Tate)于1937年发表的论文Tension in Poetry创造了这个词:
I proposed as descriptive of that achievement, the term tension. I am using the term not as ageneral metaphor, but as a special one, derived from lopping the prefixes offthe logical terms extension and intension. What I am saying, of course,is that the meaning of poetry is its “tension”, the full organized body of allthe extension and intension that we can find in it. The remotest figurativesignificance that we can derive does not invalidate the extensions of theliteral statement. Or we may begin with the literal statement and by stagesdevelop the complications of metaphor: at every stage we may pause to state themeaning so far apprehended, and at every stage the meaning will be coherent.
概之,「张力」(tension)由「内涵」(intension)和「外延」(extension)去掉首二字母而来。它是由内涵和外延组成的有机整体(the full organized body);它是某种象征,但不是普通的象征(not as a general metaphor),而是包含着复杂对立的象征(the complications of metaphor),又自有一贯性(coherent)。这和tension原本的物理学意义相一致,即所谓a force related to the stretching of an object (the opposite of compression)(Wiki: Tension)。
艾伦的理论建立在前人基础之上,包括来自瑞恰慈(I. A. Richards)的「综感」(synaesthesis),来自兰色姆(John Crowe Ransom)的「构架-肌质」(structure-texture)和来自燕卜荪(William Empson)的「含混」(或者译成复义,即ambiguity)。后继者则将张力理论放大(如William Van O’Connor),甚至应用到了文学包括小说情节、诗歌结构等等语义以外的各个方面。但不管如何应用,张力的主要特质不会改变,即内与外的复杂多义和对立统一。正如福勒·罗吉(Fowler Roger)主编的《西方文学批评术语词典》(A Dictionary of Modern Critical Terms)说:
互补物、相反物和对立物之间的冲突或摩擦。……一般而论,凡是存在着对立而又相互联系的力量、冲动或意义的地方,都存在着张力。(转引自杨果〈隐藏的视点:中西「张力」范畴再辨〉,《江汉学术》,2013年10月)
王小波《黄金时代》中那句本来不烂但被人用烂的「还想在一瞬间变成天上半明半暗的云」绝对不是有张力的文字。张力来源于含混和对立,而这句话中属于云的自由自在、漂浮不定等内涵,与外延和语境半点矛盾也没有。我不认为没有张力就不美,但同样美也不等于有张力,有力量跟有张力也不是一码事。要说王小波创作中的张力,例子有的是,比如〈一只特立独行的猪〉中说那只猪「长得又黑又瘦,两眼炯炯有光,像山羊一样敏捷,一米高的猪栏一跳就过」。文字本身并不特殊,可这是在描写「猪」,当中的复杂、反讽、对立就显而易见了。
既然张力说原本是诗歌批评理论,那我们不妨以中国古代诗歌作为参照。以李白的〈临路歌〉为例,大鹏本该凭虚御风,抟摇直上,却「中天摧兮力不济」,这已有反差;而穿行于八方万世之风中的大鹏,却被小小树木挂住了袖子,对立统一近乎绝妙。「游扶桑兮挂石袂」本源自西汉严忌〈哀时命〉的「左袪挂於榑桑」,可是原文并没有应用如此磅礴的意象,也没有前后的反差,内外的对立,自然就不如李白诗那般动人心弦了。再以李商隐〈无题四首〉其二为例:
贾氏窥帘韩掾少,宓妃留枕魏王才。
春心莫共花争发,一寸相思一寸灰。
这里暂不讨论主题的争议,只说尾联二句。颈联两个结局相反的典故已经作出了铺垫,而「春心」与「花」更是用得极好——明明相联共通的意象,却被生生拗成了反向对立。「相思」本来跟「灰」联系不到一起,但有前文的燃香作为引子,两者就奇妙又对立的联系起来,且有了复杂的韵味。
2. word筛选出不同颜色字?
Purple: It is important to include clear data and evidence in any conclusion as it adds credibility and strengthens the argument. Ambiguity can lead to confusion and skepticism.
Explanation: When presenting a conclusion, it is essential to use data and evidence to support the point being made. This is because it gives the conclusion more weight and shows that it is grounded in fact rather than just personal opinion. If a conclusion is unclear and lacks supporting evidence, it is more likely to be challenged or dismissed by others.
Content Extension: When it comes to crafting a strong conclusion, it is not enough to simply present the data and evidence. One also needs to clearly explain how these pieces of information support the conclusion being made. This means breaking down the data and explaining how it connects to the overall argument. Additionally, it is helpful to anticipate potential counterarguments and address them preemptively in the conclusion. This shows that the conclusion has been thoroughly thought through and considered all angles.
3. 唯美情感句子完美结局?
1.与你保持着一种暖昧的关系,怕自己会爱上你,怕你离开后,我会流泪。
When keeping the ambiguity with you ,I fear I will fall in love with you, and I fear I will cry after your leaving.
2.我们相爱并不是因为我们找到了一个完美的人,而是我们学着用完美的眼光来看待一个不完美的人。
We come to love not by finding a perfect person,but by learning to see an imperfect person perfectly.
3.陪你度过漫长的岁月。Accompany you to go through a long time.
4.花谢花飞飞满天,红绡香断有谁怜?
Flowers fade and fall and fly about up in the sky, But who pities the loss of your fragrance when you die?
5.世界上最遥远的距离,不是相爱的人不能在一起,而是明明不能停止思念,却装作对方从未走进自己心间。
The furthest distance in the world. Is not being apart while being in love. But when plainly cannot resist the yearning. Yet pretending you have never been in my heart.
6.我的世界不允许你的消失,不管结局是否完美。
No matter the ending is perfect or not, you cannot disappear from my world.
7.每一个沐浴在爱河中的人都是诗人。
At the touch of love everyone becomes a poet.
8.生命虽短,爱却绵长。
Brief is life, but love is long.
9.遇见你是命运的安排而爱上你是我情不自禁。
Meeting you was fate,and falling in love with you was out of my control.
10.你知道吗,有个人时时想念着你,惦记着你。你含笑的眼睛,象星光闪闪,缀在我的心幕上,夜夜亮晶晶。
Do you know there is someone thinking of you and caring you all the time? Your smiling eyes are just like the sparkling stars hanging on the curtain of my heart.
11.只要你愿意,当你失落失意的时候,最需要一个肩膊的时候,告诉我,我会立即出现满天星云下,感到无边的落寞。也许流星能体会。我期待,飘飘雪花的日子,你的心带来了一屡芬芳。
As long as you are willing, please let me know what I can do for you. When you are unhappy and want to cry on somebody's shoulder, I will stand before you immediately. I feel so lonely under the sky full of stars and clouds. I expect your love will give me something sweet on a snowing day.
12.我不知道我是否真的爱,但是我知道我不能没有你,如果地球将要毁灭,那么我要告诉你“你是我唯一想见的人。
I don't know whether I really love you, but I know I cannot lose you. If the earth is going to be destroyed I want to tell you that “you are the only one I want to see”.
13.遇上一个人要一分钟的时间,喜欢一个人只需一小时的时间,爱上一个人要一天的时间,可要我忘记你却要用上一生的时间。
I can meet a person in a minute, like a person in an hour and love a person in a day. But it will take me a whole life to forget you.
4. 用天干地支计年计月计时起于何时?
干支学的创新与时空编码
赞了唐小妹问答,开始思考这贯穿华夏几千年的问题存在的历史价值和现实意义,以及如何帮助希望掌握此道,新人用代数初始化系统,基于本人的PhD研究和在曼城天观寺的方法实践。文段分
1,西人和现代国人深入国学的难路虎。2,代数 3,宇宙时间节奏的分形编码。4,案例时间针灸 5,建议与讨论。
1,难路虎
在教子午流注时间针法和奇门遁甲和玄空风水时,这个难路虎纠缠我许多年,因中国人的时间观念比西历的线性时间观复杂多。过去一现在一将来的线性箭头故然简单,组不能表达时间的完全属性',这些道理促成我走出山门,去做《从知识控制论到风水》记得那是03年三月七日小布什发动二次伊拉克战争那天,我正在用代数系统写时间分形四柱,是以这天为例起卦的
2,代数方法
天干,al,,,a10代甲…癸,
地支,b1…,b12,代子,,,亥.。
于是一切均简化为代数,我用一套公式起四十柱,从不用万年历,如甲子元年是黄帝登基年,公元前297年,这里可知公元与甲子子年差3年,即297+3为三百,故2018-3/10其余数是5。所以明年的天干序号为戍,2018-3/12的余数是11,则明年的地支序号11为狗。
五虎建寅和五鼠建子和换算当日天干地支的方法被小编封杀了,故不再叙,因不愿意再被封杀。
3,宇宙节律的分形偏码
古人用顶层设计用干支表达时间的节律分形,这个比今年的昼夜节奏详细合面,那才是宇宙的基本节奏,昼夜只是其中最显然易见的一个实的,股票市场的长落,世界性的经济危机出现的周期节奏,世界大战动荡的节奏规律,在我的PhD讲究中都有详细论叙,只是当时国内以杨振宁为代表的大物强势反传统,我只好另起一题做道教哲学。浪费我五年时间
4,玄空风水
玄空24山阴阳是风水介入现代建筑和景观设计的关健重要的步骤,在帝国理工当时等候国内的学费的机会到建筑之程旁听,尤其是与四川老乡李博士请教了360度八卦分金定度问题,他不懂八卦,但听我把图解释后,三下五除二给我把O度下线标出来,这就坚定了,我构架玄空风水框架的正确性,因这正好与杨公任子分金与帝国理工世界一流土木建筑的下线吻合,在方法上如图所示。这图以地理方位行文王后天卦职能。每卦下标1为地卦,2为人封,中间无下标者为天朝。这里是用统计复示分类,灵感来于当时在伦敦的街区标识,如此一来再用地与天相对,天与人合一,就把二十四山阴阳全搞定了。
是我现在回忙忆把思路画出来。学生那里有精细的尺寸标度。从此示意大家可以着出我已经完全用空间二维表达时间的分形思维,这是我能用二天讲完玄空风水,五天讲完奇门遁甲的保证
5,建议与讨论
或许国人会对今年诺奖有点意见,我们的时间分形源远流长,这个不用气妥了,重要的是我们知道传统的这个时间微结构是正确的,节奏层层套装,如一个大洋葱。是真正宇宙时间的框架。(在我的论文cybernetics of tao)中细叙。
目前传统思维回归群体社会的大好时机,各媒体应该真正找到把门人,如悟空问题的风水小编放进大量糟粕,连北大,清华这些国格门面如果不能把好关,形形色色的鬼(今天是西方鬼节)混进去,那就是千古罪人
Anthony Judge的新作把河图洛书如2D表达3D或更高维现实。实为现代理论物理用降维法的老老源头现摘于后希望能看原菩朋友喜欢 comprehended. One approach noted, is the projection of 64 relationships onto a circle in the light of the articulation. As a pattern depicted in 2D it raises the same questions as any 2D projection of the planetary globe. That challenge has given rise to an extensive range of techniques of projection, with each of which there is a well-recognized particular form of potentially misleading distortion (, ).
It is therefore to be expected that any effort to portray the complete range of human relationship dynamics would also be subject to distortion, with whatever technique is favoured. Presumably this would indeed be reduced if the depiction was in 3D, on the assumption that a more comprehensive pattern -- if not more comprehensible -- would require four dimensions or more. There is the further irony that a major issue, as highlighted above with respect to ambiguity, is the extent of "projection" apparent in relationships in which the parties each have a particular understanding of what is "right" -- indicing a challenging relation to others framed as "wrong".
The identification of an appropriate holding framework in 3D and 4D was previously discussed from a different perspective (, 2017). That exploration was informed by the efforts of logicians to map the 16 Boolean
logical connectives
onto a suitable polyhedral framework, of which the image above by Tony Phillips is one example. It is described as a tesseract
, namely a cubic form in 4D. That earlier discussion presented images and animations of other related polyhedral structures which could hold the 16 connectives or the more extensive set of 64 relationships of the pattern dynamics. Most notable were the 3D projections of the 4D polychora
: truncated tesseract
and rectified tesseract
(, 2017). In the light of that terminology, from the perspective of contrasting framings of relationship -- "disagreement" -- could well be understood as appropriately resulting from "cognitive truncation" or "cognitive rectification", namely a form of reductionism with respect to complexity of higher order.The 2D articulation of Anagarika Govinda presented above invites further consideration in the light of the 3D/4D possibilities -- given the constraints associated with any form of mapping projection. Aside from the above-mentioned variations on the tesseract as a means of mapping all 64 relationships, other projections could emphasize:
the most obvious possibility of associating the 8 primary patterns on the circumference with the 8 vertices of some form of cube. The issue would then be how to map the 28 internal relational lines, given the dynamic that these represent. On a simple cube it is possible to associate 24 of those lines with the edges of the cube and the diagonals across its faces. The remaining 4 could then be associated with diagonals through the centre across the cube.the sense in which the 64 in Govinda's schematic are effectively reduced to 28 in that 56 of the relationships alternate between two conditions -- and are engendered by 8 primary patterns (depicted on the circumference of the circle). This suggests the possibility of a polyhedral form with 28 edges, for example -- with an expectation that the 8 would be implicit in some way.the 8 primary relationships engendering the 56 -- with an expectation that this would also be inadequate in some respectsAs with projections of the planetary globe, there is then a sense of the need to alternate between contrasting 2D projections to arrive at an undestanding of 3D globality -- if such is adequate to the complexity of relationship dynamics. A further constraint is the desirability of the simplest degree of symmetry in the form(s) chosen in order to enhance comprehensibility and communicability.
Mapping 24 relational dynamics onto a faceted cube: Assuming that the relational dynamics between the 8 primary patterns constitute a special case, associating their 4 diagonals through the centre across the cube can be set aside leaving the focus on the 24 edges of the
faceted cube
as shown below, using the numbering from the Govinda 看懂的点个赞,看不懂走人,不要喷!
5. express的名词形式?
名词形式: expression
n. 表现,表示,表达;表情,脸色,态度,腔调,声调;式,符号;词句,语句,措辞,说法
These students were criticized for using coarse expressions.
这些同学因言辞粗俗,受到了批评。Her expression suddenly altered.
她的表情突然变了。
Her expression was glacial.
她表情冷淡。
Her expression grew solemn.
她的表情显得严肃起来。
Her expression is almost comical.
她的表情几乎有点儿滑稽。
Her expression was watchful and alert.
她露出一副察言观色、处处提防的表情。
6. vuca包含哪些要素?
VUCA由"不稳定"(Volatile)、"不确定"(Uncertain)、"复杂"(Complex)、和"模糊"(Ambiguous)四部分组成。
不稳定
V=Volatility(易变性)是变化的本质和动力,也是由变化驱使和催化产生的。
特点:挑战本身与维持的时长是未知并且不稳定的,但是并非难以理解。相关信息通常是现成的。
举例:一场自然灾害使得供应链脱节,继而导致产品价格波动。
做法:勤于闲时,将资源投入到预备力上,例如,保持库存和储备人才。这些措施通常意味着大额的花销,但是投资应与风险程度匹配。
不确定性
U=Uncertainty(不确定性)缺少预见性,缺乏对意外的预期和对事情的理解和意识
特点:尽管缺乏额外信息,事件的基本因果关系已知。具备变革的可能性,但不一定成功。
举例:竞争者的新产品发布悬而未决,业务与市场的未来不够明朗。
做法:将资金投入信息的搜集、分析,并分享你的所得。这一做法与组织结构变革相结合时效果最佳,例如用信息扩大分析网络,降低不确定性。
复杂性
C=Complexity(复杂性)企业为各种力量,各种因素,各种事情所困扰。
特点:这种情况包括许多相互连通的变量,有些信息是现成的,或能预测到。但想清晰地梳理其复杂程度与本质并非易事。
举例:生意遍布多个国家,每个国家的监管环境千差万别,关税体系以及文化价值观也各不相同。
做法:重组、聘用或培养专业人士,积累重组资源,应对复杂性。
模糊性
A=Ambiguity(模糊性)对现实的模糊,是误解的根源,各种条件和因果关系的混杂。
特点:因果关系往往是不清晰的。没有先例可供参考,你面对的是“不确定中的不确定”
举例:决定将业务拓展到未成熟的市场或新兴市场,或在主营业务范围之外开发新产品。
做法:试验。理解因果关系需要不断提出假设,确保你能够从中得到教训,并将成果广泛应用到实际中。
7. ty结尾的单词六年级?
1、ambiguity——/ˌæmbɪˈɡjuːəti /意义不明确 ; 含糊 ; 模棱两可
2、amenity——/əˈmiːnəti /方便条件 ; 便利设施 ; 舒适 ; 惬意
3、amity——/ˈamɪti /友好
4、duty——/ˈdjuːti /责任 ; 义务 ; 职责 ; 税 ; 能率 ; 功率 ; 兵役
5、city——/ˈsɪti /城市 ; 都市 ; 市 ; 自治市 商业区 ; 特别市 ; 直辖市
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1. ambiguity,什么叫作文字的张力?
出现在中文语境中本源自上个世纪对欧美文学理论的译介,以袁可嘉为首。艾伦·退特(Allen Tate)于1937年发表的论文Tension in Poetry创造了这个词:
I proposed as descriptive of that achievement, the term tension. I am using the term not as ageneral metaphor, but as a special one, derived from lopping the prefixes offthe logical terms extension and intension. What I am saying, of course,is that the meaning of poetry is its “tension”, the full organized body of allthe extension and intension that we can find in it. The remotest figurativesignificance that we can derive does not invalidate the extensions of theliteral statement. Or we may begin with the literal statement and by stagesdevelop the complications of metaphor: at every stage we may pause to state themeaning so far apprehended, and at every stage the meaning will be coherent.
概之,「张力」(tension)由「内涵」(intension)和「外延」(extension)去掉首二字母而来。它是由内涵和外延组成的有机整体(the full organized body);它是某种象征,但不是普通的象征(not as a general metaphor),而是包含着复杂对立的象征(the complications of metaphor),又自有一贯性(coherent)。这和tension原本的物理学意义相一致,即所谓a force related to the stretching of an object (the opposite of compression)(Wiki: Tension)。
艾伦的理论建立在前人基础之上,包括来自瑞恰慈(I. A. Richards)的「综感」(synaesthesis),来自兰色姆(John Crowe Ransom)的「构架-肌质」(structure-texture)和来自燕卜荪(William Empson)的「含混」(或者译成复义,即ambiguity)。后继者则将张力理论放大(如William Van O’Connor),甚至应用到了文学包括小说情节、诗歌结构等等语义以外的各个方面。但不管如何应用,张力的主要特质不会改变,即内与外的复杂多义和对立统一。正如福勒·罗吉(Fowler Roger)主编的《西方文学批评术语词典》(A Dictionary of Modern Critical Terms)说:
互补物、相反物和对立物之间的冲突或摩擦。……一般而论,凡是存在着对立而又相互联系的力量、冲动或意义的地方,都存在着张力。(转引自杨果〈隐藏的视点:中西「张力」范畴再辨〉,《江汉学术》,2013年10月)
王小波《黄金时代》中那句本来不烂但被人用烂的「还想在一瞬间变成天上半明半暗的云」绝对不是有张力的文字。张力来源于含混和对立,而这句话中属于云的自由自在、漂浮不定等内涵,与外延和语境半点矛盾也没有。我不认为没有张力就不美,但同样美也不等于有张力,有力量跟有张力也不是一码事。要说王小波创作中的张力,例子有的是,比如〈一只特立独行的猪〉中说那只猪「长得又黑又瘦,两眼炯炯有光,像山羊一样敏捷,一米高的猪栏一跳就过」。文字本身并不特殊,可这是在描写「猪」,当中的复杂、反讽、对立就显而易见了。
既然张力说原本是诗歌批评理论,那我们不妨以中国古代诗歌作为参照。以李白的〈临路歌〉为例,大鹏本该凭虚御风,抟摇直上,却「中天摧兮力不济」,这已有反差;而穿行于八方万世之风中的大鹏,却被小小树木挂住了袖子,对立统一近乎绝妙。「游扶桑兮挂石袂」本源自西汉严忌〈哀时命〉的「左袪挂於榑桑」,可是原文并没有应用如此磅礴的意象,也没有前后的反差,内外的对立,自然就不如李白诗那般动人心弦了。再以李商隐〈无题四首〉其二为例:
贾氏窥帘韩掾少,宓妃留枕魏王才。
春心莫共花争发,一寸相思一寸灰。
这里暂不讨论主题的争议,只说尾联二句。颈联两个结局相反的典故已经作出了铺垫,而「春心」与「花」更是用得极好——明明相联共通的意象,却被生生拗成了反向对立。「相思」本来跟「灰」联系不到一起,但有前文的燃香作为引子,两者就奇妙又对立的联系起来,且有了复杂的韵味。
2. word筛选出不同颜色字?
Purple: It is important to include clear data and evidence in any conclusion as it adds credibility and strengthens the argument. Ambiguity can lead to confusion and skepticism.
Explanation: When presenting a conclusion, it is essential to use data and evidence to support the point being made. This is because it gives the conclusion more weight and shows that it is grounded in fact rather than just personal opinion. If a conclusion is unclear and lacks supporting evidence, it is more likely to be challenged or dismissed by others.
Content Extension: When it comes to crafting a strong conclusion, it is not enough to simply present the data and evidence. One also needs to clearly explain how these pieces of information support the conclusion being made. This means breaking down the data and explaining how it connects to the overall argument. Additionally, it is helpful to anticipate potential counterarguments and address them preemptively in the conclusion. This shows that the conclusion has been thoroughly thought through and considered all angles.
3. 唯美情感句子完美结局?
1.与你保持着一种暖昧的关系,怕自己会爱上你,怕你离开后,我会流泪。
When keeping the ambiguity with you ,I fear I will fall in love with you, and I fear I will cry after your leaving.
2.我们相爱并不是因为我们找到了一个完美的人,而是我们学着用完美的眼光来看待一个不完美的人。
We come to love not by finding a perfect person,but by learning to see an imperfect person perfectly.
3.陪你度过漫长的岁月。Accompany you to go through a long time.
4.花谢花飞飞满天,红绡香断有谁怜?
Flowers fade and fall and fly about up in the sky, But who pities the loss of your fragrance when you die?
5.世界上最遥远的距离,不是相爱的人不能在一起,而是明明不能停止思念,却装作对方从未走进自己心间。
The furthest distance in the world. Is not being apart while being in love. But when plainly cannot resist the yearning. Yet pretending you have never been in my heart.
6.我的世界不允许你的消失,不管结局是否完美。
No matter the ending is perfect or not, you cannot disappear from my world.
7.每一个沐浴在爱河中的人都是诗人。
At the touch of love everyone becomes a poet.
8.生命虽短,爱却绵长。
Brief is life, but love is long.
9.遇见你是命运的安排而爱上你是我情不自禁。
Meeting you was fate,and falling in love with you was out of my control.
10.你知道吗,有个人时时想念着你,惦记着你。你含笑的眼睛,象星光闪闪,缀在我的心幕上,夜夜亮晶晶。
Do you know there is someone thinking of you and caring you all the time? Your smiling eyes are just like the sparkling stars hanging on the curtain of my heart.
11.只要你愿意,当你失落失意的时候,最需要一个肩膊的时候,告诉我,我会立即出现满天星云下,感到无边的落寞。也许流星能体会。我期待,飘飘雪花的日子,你的心带来了一屡芬芳。
As long as you are willing, please let me know what I can do for you. When you are unhappy and want to cry on somebody's shoulder, I will stand before you immediately. I feel so lonely under the sky full of stars and clouds. I expect your love will give me something sweet on a snowing day.
12.我不知道我是否真的爱,但是我知道我不能没有你,如果地球将要毁灭,那么我要告诉你“你是我唯一想见的人。
I don't know whether I really love you, but I know I cannot lose you. If the earth is going to be destroyed I want to tell you that “you are the only one I want to see”.
13.遇上一个人要一分钟的时间,喜欢一个人只需一小时的时间,爱上一个人要一天的时间,可要我忘记你却要用上一生的时间。
I can meet a person in a minute, like a person in an hour and love a person in a day. But it will take me a whole life to forget you.
4. 用天干地支计年计月计时起于何时?
干支学的创新与时空编码
赞了唐小妹问答,开始思考这贯穿华夏几千年的问题存在的历史价值和现实意义,以及如何帮助希望掌握此道,新人用代数初始化系统,基于本人的PhD研究和在曼城天观寺的方法实践。文段分
1,西人和现代国人深入国学的难路虎。2,代数 3,宇宙时间节奏的分形编码。4,案例时间针灸 5,建议与讨论。
1,难路虎
在教子午流注时间针法和奇门遁甲和玄空风水时,这个难路虎纠缠我许多年,因中国人的时间观念比西历的线性时间观复杂多。过去一现在一将来的线性箭头故然简单,组不能表达时间的完全属性',这些道理促成我走出山门,去做《从知识控制论到风水》记得那是03年三月七日小布什发动二次伊拉克战争那天,我正在用代数系统写时间分形四柱,是以这天为例起卦的
2,代数方法
天干,al,,,a10代甲…癸,
地支,b1…,b12,代子,,,亥.。
于是一切均简化为代数,我用一套公式起四十柱,从不用万年历,如甲子元年是黄帝登基年,公元前297年,这里可知公元与甲子子年差3年,即297+3为三百,故2018-3/10其余数是5。所以明年的天干序号为戍,2018-3/12的余数是11,则明年的地支序号11为狗。
五虎建寅和五鼠建子和换算当日天干地支的方法被小编封杀了,故不再叙,因不愿意再被封杀。
3,宇宙节律的分形偏码
古人用顶层设计用干支表达时间的节律分形,这个比今年的昼夜节奏详细合面,那才是宇宙的基本节奏,昼夜只是其中最显然易见的一个实的,股票市场的长落,世界性的经济危机出现的周期节奏,世界大战动荡的节奏规律,在我的PhD讲究中都有详细论叙,只是当时国内以杨振宁为代表的大物强势反传统,我只好另起一题做道教哲学。浪费我五年时间
4,玄空风水
玄空24山阴阳是风水介入现代建筑和景观设计的关健重要的步骤,在帝国理工当时等候国内的学费的机会到建筑之程旁听,尤其是与四川老乡李博士请教了360度八卦分金定度问题,他不懂八卦,但听我把图解释后,三下五除二给我把O度下线标出来,这就坚定了,我构架玄空风水框架的正确性,因这正好与杨公任子分金与帝国理工世界一流土木建筑的下线吻合,在方法上如图所示。这图以地理方位行文王后天卦职能。每卦下标1为地卦,2为人封,中间无下标者为天朝。这里是用统计复示分类,灵感来于当时在伦敦的街区标识,如此一来再用地与天相对,天与人合一,就把二十四山阴阳全搞定了。
是我现在回忙忆把思路画出来。学生那里有精细的尺寸标度。从此示意大家可以着出我已经完全用空间二维表达时间的分形思维,这是我能用二天讲完玄空风水,五天讲完奇门遁甲的保证
5,建议与讨论
或许国人会对今年诺奖有点意见,我们的时间分形源远流长,这个不用气妥了,重要的是我们知道传统的这个时间微结构是正确的,节奏层层套装,如一个大洋葱。是真正宇宙时间的框架。(在我的论文cybernetics of tao)中细叙。
目前传统思维回归群体社会的大好时机,各媒体应该真正找到把门人,如悟空问题的风水小编放进大量糟粕,连北大,清华这些国格门面如果不能把好关,形形色色的鬼(今天是西方鬼节)混进去,那就是千古罪人
Anthony Judge的新作把河图洛书如2D表达3D或更高维现实。实为现代理论物理用降维法的老老源头现摘于后希望能看原菩朋友喜欢 comprehended. One approach noted, is the projection of 64 relationships onto a circle in the light of the articulation. As a pattern depicted in 2D it raises the same questions as any 2D projection of the planetary globe. That challenge has given rise to an extensive range of techniques of projection, with each of which there is a well-recognized particular form of potentially misleading distortion (, ).
It is therefore to be expected that any effort to portray the complete range of human relationship dynamics would also be subject to distortion, with whatever technique is favoured. Presumably this would indeed be reduced if the depiction was in 3D, on the assumption that a more comprehensive pattern -- if not more comprehensible -- would require four dimensions or more. There is the further irony that a major issue, as highlighted above with respect to ambiguity, is the extent of "projection" apparent in relationships in which the parties each have a particular understanding of what is "right" -- indicing a challenging relation to others framed as "wrong".
The identification of an appropriate holding framework in 3D and 4D was previously discussed from a different perspective (, 2017). That exploration was informed by the efforts of logicians to map the 16 Boolean
logical connectives
onto a suitable polyhedral framework, of which the image above by Tony Phillips is one example. It is described as atesseract
, namely a cubic form in 4D. That earlier discussion presented images and animations of other related polyhedral structures which could hold the 16 connectives or the more extensive set of 64 relationships of the pattern dynamics. Most notable were the 3D projections of the 4Dpolychora
:truncated tesseract
andrectified tesseract
(, 2017). In the light of that terminology, from the perspective of contrasting framings of relationship -- "disagreement" -- could well be understood as appropriately resulting from "cognitive truncation" or "cognitive rectification", namely a form of reductionism with respect to complexity of higher order.The 2D articulation of Anagarika Govinda presented above invites further consideration in the light of the 3D/4D possibilities -- given the constraints associated with any form of mapping projection. Aside from the above-mentioned variations on the tesseract as a means of mapping all 64 relationships, other projections could emphasize:
the most obvious possibility of associating the 8 primary patterns on the circumference with the 8 vertices of some form of cube. The issue would then be how to map the 28 internal relational lines, given the dynamic that these represent. On a simple cube it is possible to associate 24 of those lines with the edges of the cube and the diagonals across its faces. The remaining 4 could then be associated with diagonals through the centre across the cube.the sense in which the 64 in Govinda's schematic are effectively reduced to 28 in that 56 of the relationships alternate between two conditions -- and are engendered by 8 primary patterns (depicted on the circumference of the circle). This suggests the possibility of a polyhedral form with 28 edges, for example -- with an expectation that the 8 would be implicit in some way.the 8 primary relationships engendering the 56 -- with an expectation that this would also be inadequate in some respectsAs with projections of the planetary globe, there is then a sense of the need to alternate between contrasting 2D projections to arrive at an undestanding of 3D globality -- if such is adequate to the complexity of relationship dynamics. A further constraint is the desirability of the simplest degree of symmetry in the form(s) chosen in order to enhance comprehensibility and communicability.
Mapping 24 relational dynamics onto a faceted cube: Assuming that the relational dynamics between the 8 primary patterns constitute a special case, associating their 4 diagonals through the centre across the cube can be set aside leaving the focus on the 24 edges of the
faceted cube
as shown below, using the numbering from the Govinda看懂的点个赞,看不懂走人,不要喷!
5. express的名词形式?
名词形式: expression
n. 表现,表示,表达;表情,脸色,态度,腔调,声调;式,符号;词句,语句,措辞,说法
These students were criticized for using coarse expressions.
这些同学因言辞粗俗,受到了批评。Her expression suddenly altered.
她的表情突然变了。
Her expression was glacial.
她表情冷淡。
Her expression grew solemn.
她的表情显得严肃起来。
Her expression is almost comical.
她的表情几乎有点儿滑稽。
Her expression was watchful and alert.
她露出一副察言观色、处处提防的表情。
6. vuca包含哪些要素?
VUCA由"不稳定"(Volatile)、"不确定"(Uncertain)、"复杂"(Complex)、和"模糊"(Ambiguous)四部分组成。
不稳定
V=Volatility(易变性)是变化的本质和动力,也是由变化驱使和催化产生的。
特点:挑战本身与维持的时长是未知并且不稳定的,但是并非难以理解。相关信息通常是现成的。
举例:一场自然灾害使得供应链脱节,继而导致产品价格波动。
做法:勤于闲时,将资源投入到预备力上,例如,保持库存和储备人才。这些措施通常意味着大额的花销,但是投资应与风险程度匹配。
不确定性
U=Uncertainty(不确定性)缺少预见性,缺乏对意外的预期和对事情的理解和意识
特点:尽管缺乏额外信息,事件的基本因果关系已知。具备变革的可能性,但不一定成功。
举例:竞争者的新产品发布悬而未决,业务与市场的未来不够明朗。
做法:将资金投入信息的搜集、分析,并分享你的所得。这一做法与组织结构变革相结合时效果最佳,例如用信息扩大分析网络,降低不确定性。
复杂性
C=Complexity(复杂性)企业为各种力量,各种因素,各种事情所困扰。
特点:这种情况包括许多相互连通的变量,有些信息是现成的,或能预测到。但想清晰地梳理其复杂程度与本质并非易事。
举例:生意遍布多个国家,每个国家的监管环境千差万别,关税体系以及文化价值观也各不相同。
做法:重组、聘用或培养专业人士,积累重组资源,应对复杂性。
模糊性
A=Ambiguity(模糊性)对现实的模糊,是误解的根源,各种条件和因果关系的混杂。
特点:因果关系往往是不清晰的。没有先例可供参考,你面对的是“不确定中的不确定”
举例:决定将业务拓展到未成熟的市场或新兴市场,或在主营业务范围之外开发新产品。
做法:试验。理解因果关系需要不断提出假设,确保你能够从中得到教训,并将成果广泛应用到实际中。
7. ty结尾的单词六年级?
1、ambiguity——/ˌæmbɪˈɡjuːəti /意义不明确 ; 含糊 ; 模棱两可
2、amenity——/əˈmiːnəti /方便条件 ; 便利设施 ; 舒适 ; 惬意
3、amity——/ˈamɪti /友好
4、duty——/ˈdjuːti /责任 ; 义务 ; 职责 ; 税 ; 能率 ; 功率 ; 兵役
5、city——/ˈsɪti /城市 ; 都市 ; 市 ; 自治市 商业区 ; 特别市 ; 直辖市
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