Pain (philosophy)

Philosophy of pain may be about suffering in general or more specifically about physical pain. The experience of pain is, due to its seeming universality, a very good portal through which to view various aspects of human life. Discussions in philosophy of mind concerning qualia has given rise to a body of knowledge called philosophy of pain, which is about pain in the narrow sense of physical pain, and which must be distinguished from philosophical works concerning pain in the broad sense of suffering. This article covers both topics.

Historical views of pain

Two near contemporaries in the 18th and 19th centuries, Jeremy Bentham and the Marquis de Sade had very different views on these matters. Bentham saw pain and pleasure as objective phenomena, and defined utilitarianism on that principle. However the Marquis de Sade offered a wholly different view - which is that pain itself has an ethics, and that pursuit of pain, or imposing it, may be as useful and just as pleasurable, and that this indeed is the purpose of the state - to indulge the desire to inflict pain in revenge, for instance, via the law (in his time most punishment was in fact the dealing out of pain). The 19th-century view in Europe was that Bentham's view had to be promoted, de Sade's (which it found painful) suppressed so intensely that it - as de Sade predicted - became a pleasure in itself to indulge. The Victorian culture is often cited as the best example of this hypocrisy.

Pain (musical project)

Pain (typeset as PAIN) is a musical project from Sweden that mix heavy metal with influences from electronic music and techno. The project started out as a hobby project for front man Peter Tägtgren, whose idea was to fuse heavy metal with 1980s-inspired electro-industrial and techno influences. Tägtgren, who is also the vocalist/guitarist of Hypocrisy and producer of his own The Abyss studios, is the only current member.

Pain's self-titled debut was released in 1997, and since then Pain has released six more albums and a DVD. Starting with their second, all of Pain's albums have made the Swedish charts, thanks in large part to hit singles such as "End of the Line", "Shut Your Mouth", and "Same Old Song". In early February 2006, Blabbermouth.net reported that Pain had signed with Roadrunner Records. Currently, Pain is under the Nuclear Blast Records banner.

In 2008, Pain was on tour as a supporting performer for the Finnish symphonic power metal band Nightwish. During this tour singer Peter Tägtgren, drummer David Wallin, and bassist Johan Husgafvel were assaulted by a gang in Leipzig. Tägtgren received 10 stitches in his face, Wallin suffered a concussion and stitches to his head, and Husgafvel had his nose broken.

Pain (Rhino Bucket album)

PAIN was released on 1 June 1994 by Rhino Bucket. It is their first effort with Simon Wright (formerly of AC/DC) as drummer.

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Personnel

Blob

Blob may refer to:

In science

In computing

In entertainment

Film and television

Gaming

Park West, Dublin

Park West (Irish: Páirc an Iarthair) is a large business campus within greater Ballyfermot, notably Cherry Orchard, Dublin, Ireland, with some residential development.

There are over 300 companies with 10,000 employees.

Location and content

Located just inside the M50 orbital motorway in west Dublin, the development comprises several million square metres of office and retail space, along with an Aspect hotel, a private hospital, and three apartment complexes.

Park West is in the administration of Dublin City Council, and Dublin postal districts Dublin 10 and Dublin 12, chiefly the latter.

Art

Park West is home to Europe's tallest wind and water mobile sculpture, Wave by Angela Conner. It is a 39.3 metre (129 feet) tall sculpture made of polystyrene covered with layers of carbon resin. It is fixed into a 7.6 metre (25 foot) pit filed with 9.5 tonnes of lead.

Transport

The campus is accessible by road (primarily the (New) Nangor Road, as well as Killeen Road and Cloverhill), bus (routes 79A and 151) and rail at the Park West and Cherry Orchard railway station. At a moderate distance to the south is the Kylemore stop on the Luas red line.

Wave (Antonio Carlos Jobim album)

Wave is the third album by Antônio Carlos Jobim, released in 1967 on A&M Records. It is known as Jobim's most successful album to date (# 5 US JAZZ ALBUMS 1967,# 114 US ALBUMS 1968), and it was listed by Rolling Stone Brazil as one of the 100 best Brazilian albums in history.

Track listing

Personnel

Strings

Wave (audience)

The wave (known as the Mexican wave in the anglosphere outside North America) is an example of metachronal rhythm achieved in a packed stadium when successive groups of spectators briefly stand, yell, and raise their arms. Immediately upon stretching to full height, the spectator returns to the usual seated position.

The result is a wave of standing spectators that travels through the crowd, even though individual spectators never move away from their seats. In many large arenas the crowd is seated in a contiguous circuit all the way around the sport field, and so the wave is able to travel continuously around the arena; in discontiguous seating arrangements, the wave can instead reflect back and forth through the crowd. When the gap in seating is narrow, the wave can sometimes pass through it. Usually only one wave crest will be present at any given time in an arena, although simultaneous, counter-rotating waves have been produced.

Origins and variations

1970s–1980s

While there is general disagreement about the precise origin of the wave, most stories of the phenomenon's origin suggest that the wave first started appearing at North American sporting events during the late 1970s and early 1980s. Krazy George Henderson led a wave in October 15, 1981 at a Major League Baseball game in Oakland, California. This wave was broadcast on TV, and George has used a videotape of the event to bolster his claim as the inventor of the wave. On October 31, 1981, a wave was created at a UW football game in Seattle, and the cheer continued to appear during the rest of that year's football season. Although the people who created the first wave in Seattle have acknowledged Krazy George's wave at a baseball stadium, they claimed to have popularized the phenomenon, since Krazy George's wave was a one-time event.