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§ 22. If it be said, “the understanding hath an implicit knowledge of these principles, but not an explicit, before this first hearing,” (as they must, who will say, “that they are in the understanding before they are known”) it will be hard to conceive what is meant by a principle imprinted on the understanding implicitly; unless it be this, that the mind is capable of understanding and assenting firmly to such propositions. And thus all mathematical demonstrations, as well as first principles, must be received as native impressions on the mind: which I fear they will scarce allow them to be, who find it harder to demonstrate a proposition, than assent to it when demonstrated. And few mathematicians will be forward to believe, that all the diagrams they have drawn, were but copies of those innate characters which nature had engraven upon their minds.

The Classical Hollywood Cinema Twenty-Five Years Along

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David Bordwell, Janet Staiger, and Kristin Thompson

§ 2. These, and the like relations, expressed by relative terms, that have others answering them, with a reciprocal intimation, as father and son, bigger and less, cause and effect, are very obvious to every one, and every body at first sight perceives the relation. For father and son, husband and wife, and such other correlative terms, seem so nearly to belong one to another, and through custom do so readily chime and answer one another in people’s memories, that, upon the naming of either of them, the thoughts are presently carried beyond the thing so named; and nobody overlooks or doubts of a relation, where it is so plainly intimated. But where languages have failed to give correlative names, there the relation is not always so easily taken notice of. Concubine is, no doubt, a relative name, as well as wife: but in languages where this, and the like words, have not a correlative term, there people are not so apt to take them to be so, as wanting that evident mark of relation which is between correlatives, which seem to explain one another, and not to be able to exist, but together. Hence it is, that many of those names which, duly considered, do include evident relations, have been called external denominations. But all names, that are more than empty sounds, must signify some idea, which is either in the thing to which the name is applied, and then it is positive, and is looked on as united to, and existing in the thing to which the denomination is given: or else it arises from the respect the mind finds in it to something distinct from it, with which it considers it; and then it concludes a relation.

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§ 3. Another sort of relative terms there is, which are not looked on to be either relative, or so much as external denominations; which yet, under the form and appearance of signifying something absolute in the subject, do conceal a tacit, though less observable relation. Such are the seemingly positive terms of old, great, imperfect, &c. whereof I shall have occasion to speak more at large in the following chapters.

More specifically, The Classical Hollywood Cinema addressesfour questions:
It's a whole new world.  Let’s be brave and tell the truth as much as we can.  Anohni x

photo of Edwige, Antony and Tilda Swinton NYC 2012 by Chuck Fiorello

§ 9. To ask at what time a man has first any ideas, is to ask when he begins to perceive; having ideas, and perception, being the same thing. I know it is an opinion, that the soul always thinks, and that it has the actual perception of ideas in itself constantly as long as it exists; and that actual thinking is as inseparable from the soul, as actual extension is from the body: which if true, to inquire after the beginning of a man’s ideas is the same as to inquire after the beginning of his soul. For by this account soul and its ideas, as body and its extension, will begin to exist both at the same time.

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And we did it all on note cards and typewriters.

§ 4. Secondly, mixed modes and relations having no other reality but what they have in the minds of men, there is nothing more required to this kind of ideas to make them real, but that they be so framed, that there be a possibility of existing conformable to them. These ideas themselves, being archetypes, cannot differ from their archetypes, and so cannot be chimerical, unless any one will jumble together in them inconsistent ideas. Indeed, as any of them have the names of a known language assigned to them, by which he that has them in his mind would signify them to others, so bare possibility of existing is not enough; they must have a conformity to the ordinary signification of the name that is given them, that they may not be thought fantastical: as if a man would give the name of justice to that idea, which common use calls liberality. But this fantasticalness relates more to propriety of speech, than reality of ideas: for a man to be undisturbed in danger, sedately to consider what is fittest to be done, and to execute it steadily, is a mixed mode, or a complex idea of an action which may exist. But to be undisturbed in danger, without using one’s reason or industry, is what is also possible to be; and so is as real an idea as the other. Though the first of these, having the name courage given to it, may, in respect of that name, be a right or wrong idea: but the other, whilst it has not a common received name of any known language assigned to it, is not capable of any deformity, being made with no reference to any thing but itself.

Antony and the Johnsons performance  from Dark Mofo in Hobart, Tasmania.

The text is in the public domain.

If your lordship has any better and distincter idea of substance than mine is, which I have given an account of, your lordship is not at all concerned in what I have there said. But those whose idea of substance, whether a rational or not rational idea, is like mine, something, they know not what, must in that, with me, talk like children, when they speak of something, they know not what. For a philosopher that says, That which supports accidents, is something, he knows not what; and a countryman that says, the foundation of the great church at Harlem is supported by something, he knows not what; and a child that stands in the dark upon his mother’s muff, and says he stands upon something, he knows not what, in this respect talk all three alike. But if the countryman knows, that the foundation of the church of Harlem is supported by a rock, as the houses about Bristol are; or by gravel, as the houses about London are; or by wooden piles, as the houses in Amsterdam are; it is plain, that then having a clear and distinct idea of the thing that supports the church, he does not talk of this matter as a child; nor will he of the support of accidents, when he has a clearer and more distinct idea of it, than that it is barely something. But as long as we think like children, in cases where our ideas are no clearer nor distincter than theirs, I agree with your lordship, that I know not how it can be remedied, but that we must talk like them.