A Quote by Roman Jakobson

Linguistic sounds, considered as external, physical phenomena have two aspects, the motor and the acoustic. — © Roman Jakobson
Linguistic sounds, considered as external, physical phenomena have two aspects, the motor and the acoustic.
Hence, wherever we meet with vital phenomena that present the two aspects, physical and psychical there naturally arises a question as to the relations in which these aspects stand to each other.
We know that sensory phenomena are transcribed in the photographic emulsion in such a way that even if there is a causal link with the real phenomena, the graphic images can be considered as wholly arbitrary with respect to these phenomena.
And so artistic creation is the metamorphosis of the external physical aspects of a thing into a self-sustaining spiritual reality .
The Sun-Paul must consider only one thing: what is the relation of this or that external reaction of the animal to the phenomena of the external world?
Don't think that even an engineer, when he buys a motor, takes it to bits to scrutinize it. Even he as a specialist buys from the external appearance. A motor ought to look like a birthday present.
A couple of sounds that I really like are the sounds of a switchblade and a motor bike.
Unlike the position that exists in the physical sciences, in economics and other disciplines that deal with essentially complex phenomena, the aspects of the events to be accounted for about which we can get quantitative data are necessarily limited and may not include the important ones.
My sound is super hybrid; the acoustic sounds are there and the electronic sounds are there.
It's hard for me to use any electronic sounds at all, really. I'm always just layering acoustic sounds.
Martial arts have two parts. One is external, other internal. The external is physical part. The internal is philosophy of how to be, what kind of person learns martial arts.
I think there are two aspects to ageing: there's the physical side and what's happening inside.
We call those works of art concrete that came into being on the basis of their inherent resources and rules - without external borrowing from natural phenomena, without transforming those phenomena, in other words: not by abstraction.
It would appear... that moral phenomena, when observed on a great scale, are found to resemble physical phenomena; and we thus arrive, in inquiries of this kind, at the fundamental principle, that the greater the number of individuals observed, the more do individual peculiarities, whether physical or moral, become effaced, and leave in a prominent point of view the general facts, by virtue of which society exists and is preserved.
It would not become physical science to see in its self created, changeable, economical tools, molecules and atoms, realities behind phenomena... The atom must remain a tool for representing phenomena.
With my projects, I really like the extreme high-tech stuff, but I also like the other end, the acoustic things. So it seems like those meet on an iPad, where you make shapes but the sounds coming out of it are really acoustic.
There's one uneasy borderline between what is external and what is internal, and this borderline is defined exactly by the sense organs and the skin and the introduction of external things within my own body. Consciousness is altered by physical events and physical objects, which impinge upon my sense organs, or which I introduce into my body. Now the name traditionally given to external objects or processes which change you internally is sacrament. Sacraments are the visible and tangible techniques for bringing you close to your own divinity.
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