Arquivo para a ‘Linguagens’ Categoria
Simplicity and depth: modern proble
01
Nov
I learned in childhood with the simplicity of my father that there may be wisdom and deep thought where there is no erudite culture, reason is very simple, some people have been immune to the
contamination of rationalist, enlightenment and idealistic arguments.
This is because much of the common sense has in mind these reasonings, for example, the mechanistic view of cause and effect relationship, no longer true with quantum physics, the arguments used much as contemporary self-help is contested by the poet Fernando Pessoa: “wanting is not power”, for the simple fact that there is the Other, but in the poet’s argument:
“Whoever could, wanted before he could [only] after being able “, but concludes:” whoever will never be able to, want, “might add to the meekness of the previous post.
As for depth, it is not a thinker or a philosopher who reads thinkers or philosophy, but who has learned through listening and reading training, also to meditate, to think of contemplation, almost impossible in noisy and anxious times.
You can think when you have time for this, when you can feel the Aroma of Time, says in the book by this name Byung-Chul Han: “the aroma is not of a timeless eternity”, but of a strategy of duration, we would say of time dilation by the contemplation and acquiescence of Being, so necessary to modern life.
This may seem to be too costly, to use the time not to “spend” it not to “use” it, but rather to use time in a non-consumeristic or utilitarian way, such as the time of Being.
And simple people, because they have learned in their simplicity to appreciate a landscape, a flower or even a good song or a beautiful picture, are actually educated to be.
I remember my father in his childhood saying, “It is better to light a candle than to curse the darkness,” then it seemed provincial and too simplistic, but it was pure wisdom: the glade.
In biblical terms, it is my hermeneutic interpretation of the “poor in spirit,” in a sense that lets facts pass clearly and meaninglessly and plunges into the essentials. Said the multifaceted artist Leonardo da Vinci: “Simplicity is the ultimate degree of sophistic
Incomplete verses and power
30
Oct
All incompleteness is human, but it is also the cause of our blindness, we could complete it with
dialogue, attentive listening to the Other, or with the postmodern philosophy that has nothing to drink but is very solid: living in the Other , a post-me.
I see libertarian, literary and biblical verses, all incomplete, by the absence of the Other, or by the simple idealistic division between subjects and objects, here made plural, to give meaning to a verse by Fernando Pessoa (importante portuguese poet):
“I only want to make it of all humanity; even if I have to lose it as mine. More and more like this I think “, also incomplete, but final because at first it is only that many know “Navigate is accurate, live is not necessary “, which was not his, but the motto of many Portuguese navigators.
This poem also needs completeness: “I am increasingly putting the impersonal purpose of magnifying the homeland and contributing to the evolution of humanity. It is the form that in me has taken the mysticism of our Race, “as this is welcome in times of eternal return.
I wanted to make a thought about power, but I cannot but be power, says our Portuguese poet: “Everything I think, All I am Is an immense desert Where I am not”, are verses of “Everything I think” (Fernando Pessoa) being also incomplete.
Complete with my student life, fighting for democracy in an authoritarian country, I said the final verses of this poem of everything I think: “Extension stopped With nothing to be there, Sand sifted I’ll give you the sting of the life I’ve lived.”
Said Faust in his Goethe (it was the character to say): “although I do not cast my being if it solves in nothing”, power of whom? What can you do about my Being?
Missing Dialogue
22
Oct
There were no dialogues, there were still abysses, and we were not always clear, there were no clearings, 
but abysses, few safe bridges, and much lack of love and disrepute.
Brazilian writer Elisa Lucinda says: “My literature is full of this subject of injustice in the world, love as a great antidote is one of my favorite themes” (Interviews Dialogues, Itaú Cultural, 2017).
He wrote about Fernando Pessoa: “The Knight of Nothing”, along with Rubem Alves: “The Poetry of the Encounter”, about its fullness in “Vozes guardadas”, are the ones I know, but there are others in my pile for when the leave space for the pleasant ones.
Elisa Lucinda is an actress, singer, journalist, teacher, singer and poet, little known by the mainstream media, even by committed and conscientious people, but it is an “unprecedented binge”, as she likes to refer to her books, loves and revere.
It makes the most beautiful, unprejudiced and authentic defense of the books: “Children go to school and leave without knowing that book is art, that writer is an artist, unaware that when they love Harry Potter, Snow White and Sun Quixote in the movies, this was all a book. ”
In a time of absent dialogue it is good to remember this brilliant writer, who wrote in the latest fashion book:
“In the sweet seas and in the difficult waters of the raw life, my joy continues, continues.
Stripped of guns and fears, I’m more beautiful naked”, writing Elisa.
If many are afraid, if the news is harsh and unhealthy, we will not be silent or afraid because we will pluck fear out of our hearts and fight the madmen in the streets.
There are no bridges, they erect walls, close doors and talk about darkness, as for us, we keep searching for clearings
From Logic to Being
27
Sep
The concept of antropotécnica, initially controversial that came to shake the German culture
and generated a controversy between Junger Haberrmas and Peter Sloterdijk, even being compared to conservative forces, in fact can be related so much to “improvement of the world” (in German Weltverbesserung) and “self-improvement” (Selbstverbesserung).
It surpasses and at the same time dialogues with the Foucauldian concept of biopolitics, it still shows a difficulty in the relation between subject and power, in spite of its Microphysics of Power, thus sees the relation with the technique: “I have tried, rather, to produce a history of the different modes of subjectivation of the human being in our culture: I have treated, in this perspective, the three modes of objectification that transform human beings into subjects. […]. It is not, therefore, the power, but the subject that constitutes the general theme of my research. “(FOUCAULT, 2014, pp. 118-119).
Although biopolitics appears to be an overcoming of the “technology of the self” (the aesthetics of existence), it has not dissociated itself from the object x subject polarity, whose essence is idealistic logic.
If biopolitics is ultimately the rule of life, life is beyond the relation to power, for a radical change took place in Modernity: technique. Sloterdijk’s 2009 work “You Must Change Your Life” (Du musst dein Leven ändern) he establishes two forms of artificial (not virtual) production of human behavior in so-called “great cultures” under the impact of the Modern Age.
The first is the production of man by man, what he calls “letting operate” (Sich-operieren-Lassen) and the second is the production of men, but of themselves, which would then go to techniques of “self -employment” (Sloterdik, 2009, page 589).
What Sloterdijk wants to point out to us is that there is a new form of relationship with the state in progress that goes beyond biopolitics, clarifies in his foundational work “Rules for the human park” that since Plato, creator of the ideal state and the idea of citizenship where the philosopher-politician was superior, let us see: “What Plato utters by the mouth of his stranger is the program of a humanist society embodied in the figure of the one complete humanist: the master of the science of royal grazing.
The task of this superhumanist [the political philosopher trained for this] would be no other than the planning of properties in an elite [of politicians] that would have to be explicitly raised for the good of all. “(Sloterdijk 2001, 82- 83).
This logic escapes from the left-right dualism, liberators and oppressors (they are on both sides), for a logic of redefining the role of state and politics, is a paraconsistent logic, in the sense that it requires a new language, a broad dialogue.
The Peruvian philosopher Francisco Miró Quesada, who coined the word Paraconsistent, says that Latin American thought is born: “before all, naked and weak, like a helpless orphan,” amidst dictatorial possibilities a new thought can open us to Being .
SLOTERDIJK, P. Regras para o parque humano (Rules for the Human Park). São Paulo: Estação Liberdade, 2001.
FOUCAULT, M. O sujeito e o poder. (The subject and the power). In: Foucault, M. Dictations and Writings – IX. Rio de Janeiro: Forense Universitária, 2014.
The truth and / or method?
12
Sep
The positive truth established by science and the enlightenment had two foundations: the idea 
(idealism) linked to experience (empiricism), whose inglorious attempt was to create a universal encyclopedia of knowledge, Kant’s sapere audi great achievements of modernity were insufficient to abolish the war, created a crisis of values, a concentration of riches and a worldview with signs of fragility.
What transdisciplinarity and sober educators are demanding, a return to life-giving sciences, the humanistic perennials, Heidegger’s Charter on Humanism, in which he cries: “But in this we must not forget that” subject and object ” are inadequate expressions of the metaphysics which took over very early on the interpretation of language, in the form of Western “Logic” and “Grammar” (Heidegger, 2005: 8).
What we call interpretation, Heidegger asserts in paragraph 32 of “Being and Time” (it is mentioned in “Truth and Method”), is actually developing “the projected possibilities of understanding”, it means a dialogic process where it is possible to retrieve the pre-concepts and a new “fusion of horizons”, in this sense the Hermetic is opposed to the hermeneutic.
The preconception, seen as anticipation of human experience, attests to our bond to the tradition in which we are immersed, but we need what Gadamer calls “consciousness of the history of effects” (possible translation of “Wirkungsgeschichtliches Bewusstsein”), as explained in her text “determined by a real historical becoming, in such a way that it does not have the liberty to situate itself in the face of the past”, hence its criticism of Dilthey.
Our estrangement from the truth, Gadamer begins with aesthetics, a culture of appearances – through which his book begins, recapitulates in the idealists the ideas of taste and experience (“Erlebnis”), the latter always put more emphasis, albeit in ways in Dilthey and Husserl.
They will be developed in such a way as to falsify the “sciences of the spirit” (see in his work “The Extension of the Question of Truth to Understanding in the Sciences of the Spirit”), in an analytical effort to concretize the so- his whole critique of Schleiermacher’s romantic hermeneutics, the “Aufklärung” (Illustration), and the historicism of Droysen, Ranke, Dilthey, and Hegel.
His criticism goes to the bottom of the notion of aesthetics of a work of art, when a painter, with certain technique or style, goes to painting with a certain technique, what is read in the picture is not the soul of artist.
Her analysis is also from the hermeneutic analytic, in criticizing Schleiermacher also gives reason to say that in the work of an artist, a poet, a writer would be the foundation to perceive the authorial intention, so the exegete would know more closely than his own author and not only his letter or painting, to know the Gospel of St. John would be, first of all, to know Saint John, in which Gadamer rejects the postulate of the Romantic school.
But he will accept the romantic school in “Let’s face the facts” of “Aufklärung”: “he reads the Johannine text as Protestant, as a Catholic, a third as a historian of Palestine.” If we swept all these presuppositions, perhaps in the written lines, pristine, “now the Aufklärung” desired the
meeting of an unprejudiced interpretation, which would remove both the tradition of authority and the authority of tradition (ie idealism!), in which the romantics were right.
There remain two snags, Sloterdijk’s answer to Heidegger and Ricoeur’s question: would it then be Truth or Method (or, not and), that is, truly ontological?
The Crystal Palace and the digital era
10
Sep
Byung Chull Han describes in her that the concepts of telecommunications, she was previous and 
fundamental to the internet, must be reflected with great ontological seriousness, since it is the one that designates the procedural form of densification in numbers of interactions and monetary values, it is calculated that there are ten million e-mails per minute and one trillion dollars a day (VÁSQUEZ ROCCA, 2012).
This high density occurs both in the greater and easier possibility of meeting between agents, either in the form of (relational?) Transactions or in the form of collisions, and this describes in a certain way what resembles the so-called Crystal Palace (idem) .
The Crystal Palace of London in 1850 already housed Universal Exhibitions and also recreation centers dedicated to “education of the people”, this sophisticated architecture, one of the most imposing in the nineteenth century, anticipated a globalized capitalism and intended the total absorption of the world that was produced, long before the digital age.
He quotes Dostoevsky and Walter Benjamin even more frequently, and Sloterdijk (2005) uses them in an article where he uses the idea of Dostoevsky that he finds there the cult of Baal as a consumeristic and hedonistic symbol, where a doctrine of “purposes” as a dogma of consumption.
Sloterdijk makes a connection with Benjamin: “The power of the metaphor of Dostoyevsky’s crystal palace for the philosophy of history is best measured when juxtaposed to Walter Benjamin’s interpretation of the Parisian arcades. The comparison is suggestive because in one case as in the other an architectural form was proclaimed as the key to capitalismo, condition of the world “(SLOTERDIJK, 2005, p. 279).
It will be Byung Chull-Han who solves this duality by establishing that there is always a “mystery” that is unveiled and that this is part of the beautiful and the truth, which is gradually revealed.
It is necessary to think that only 4% of the universe is known, that of the call of baryonic matter, that composed of protons, electrons and neutrons, in addition to some subparticles, dark matter that in part is also baryonic and so-called dark energy, of repulsive action that permeates the entire space, are practically unknown.
SLOTERDIJK, P. Crystal Palace. Chapter 33 in Globalen Inneren Raum des Kapitals: Für eine philosophische Theorie der Globalisierung (In the Global Inner Space of Capital: For a Philosophical Theory of Globalization). Frankfurt am Main: Suhrkamp, 2005, pg. 265-276.
VÁSQUEZ ROCCA, Adolfo, “Sloterdijk: Modelos de comunicación ocultoarcaicos y moderno-ilustrados. Para una época de ángeles vacíos. Nómadas. Revista Crítica de Ciencias Sociales y Jurídicas, 2010 Disp.: http://www.ucm.es/info/nomadas/26/avrocca.pdf, Acesso em: setembro de 2018.
The metaphor, the imaginary and the veiling
07
Sep
We have already posited that veiling is an essential part of truth and beauty, in Paul Ricoeur this is more
clear in his “Living Metaphor” (1975), because part of his phenomenological hermeneutics is in essential relation to the work of art, in which he the passage from the archaeological moment of hermeneutics to the teleological, that is, the logic of the ends, beyond the propositional logic.
In the Greek mimesis, the artistic production and the new had meant as instruments that give meaning to reality, but it surpasses it and it can be said there was also something teleological.
This is entirely valid, for in reading the Living Metaphor one realizes that it is a rereading of Aristotle’s Poetics, but he himself clarifies the difference by exposing that the metaphor goes beyond (meta) and transposes (pher) into a thing that designates another object, while mimesis is the idea of imitation.
But beyond the metaphor the important question in Ricoeur is that of the imagination, it must be separated from the virtual, the unpublished lectures of Paul Ricoeur in the United States, were documented and commented, this already a translation, by George H. Taylor, where the concept of “producing imagination” appears in four categories: utopian, epistemological, poetic and symbolic sacrum (Taylor, 2006), which seem to me to be more related to the virtual.
Aristotle himself states that this figure of speech (metonymy – substitution of the word, synecdoche – replaces the part for the whole, etc.) is tangent to those who wish to express questions in orality and must do so in writing.
Let us make a passage, using resources from the virtual, from the syntax (the structure of the sentence) to the meaning (its semantics) arriving at the logic of discourse (hermeneutics), this comes from a theory of the substitution of meaning (false semantics in many discourses) for a theory of meaning, a logic underlying the hermeneutic, no longer as dogmatic truth, but as dialogical truth.
The question of classification facing Enlightenment and encyclopedism will result in Gadamer’s question if there is no underlying metaphor throughout it, while Derrida asks whether there is no rationalist ability to classify all objects conceptually.
Byung-Chul Han responds non-dualistically, the truth and the beautiful are “veiled” and only that is able to see through this veil the desired “clearing” arrives, then the metaphor is a resource and dialogic hermeneutics a path, this path oscillates between the real and the virtual.
The virtual is thus the visible beyond the veil, and the real is the unveiled in the present, the representative, whose memory in the next moment is re-present or imaginary.
Chul Han also speaks of the use of metaphor in the Bible as a purposeful resource for “making them the object of desire”, I think it is more than this, that reaching the truth is done in steps and that much of life is still a mystery .
RICOEUR, P. La Métaphore Vive, Paris, Éditions du Seuil, 1975.
TAYLOR, G. H., Ricœur’s Philosophy of Imagination. Journal of French Philosophy, Vol. 16, p. 93, 2006; U. of Pittsburgh Legal Studies Research.
Truths, tautologies and beliefs
05
Sep
I was astonished that Noam Chomsky said: “people do not believe in facts anymore,” the crises 
(not unique, because there are political, ideological and even humanitarian crises) although all with an economic outline, the deep root of them is for a rejection of own culture.
Some will say identity, although it should not be left aside, the discourses I see in this line border on psychologism, the correct philosophical concept must be seen with the question of relation, while psychology sees as personality problems, behaviors and mental functions, then for me it’s something else. In the sociological case it has in the idea of self-conception, aspects of social representation as a single person, or in quantitative terms what differs it from others in cultural, gender, nationality, now online identity or something that is formative of one’s own identity.
Although culture comes as a sociological aspect, it is reductive because culture is more comprehensive than aspects of identity and nationalities, Alfred Kroeber and Clyde Kluckhohn have found at least 167 different definitions for the term “culture”, which shows the breadth of the term . We have a narrow definition, but incorporate essential elements: all that complex that includes knowledge, beliefs, art, morals, law, customs and all other habits and capacities acquired by man as a member of society ” Edward B. Tylor, for our theme as it involves knowledge, beliefs and truth.
Systems that ignore beliefs are not true, but tautological, even admitting an intersection between beliefs and knowledge, because they ignore that there is knowledge linked to beliefs (figure below).
Systems that admit that in every culture there are beliefs, can differentiate the knowledge present in different cultures and that have a core of distinct knowledge, but in both there may be truth, it is a dialogical and relational knowledge.
The art, morality, and customs that are within these cultures may have no relation to truth, but each has a different nucleus of knowledge (x and y in the figure) that relates to truth, facts and attitudes help to maintain this true relationships.
The Schelermer triadric ballet
04
Sep
Many are the biographical possibilities for Oskar Schlemmer (1888-1943), to understand Schelemmer’s humanism, beginning with his discipline “The Man” which he taught at the Bauhaus in “Teaching Matters: Man”, aiming to “familiarize apprentice with the whole man, making it from two distinct types of consideration: the visible trimming and its presentation “, as it appears in the site: www.tipografos.net/bauhaus/.
The idea of the triadric bale comes from three participants (two male and one female), 12 dances and 18 costumes, there is strong puppet theater influence, the idea of machinic movements, synthesis of his vision of modernity divided into two main movements : the mechanization, which makes man as a machine and the body a mechanism, and, the primordial impulses, the depths of our creative impulses.
He saw in the choreographic geometry of dance a synthesis, the Dionysian and emotional origins of dance, which made it rigid and apolytic in its final form, but wanted to be free from the historical baggage of opera and theater, and thus see the man transformed by the costume and dance.
He saw puppets and puppet movements as human beings, reading from the virtual would say that he has a “grammar”, and using a reasoning Schelemmer can be said that “the medium of all art is artificial”, and therefore , a virtual artifact.
In analyzing the body as geometry: it saw the head and eyes as circles, so the body becomes a figurine from which the costume derives, and finally, the movements of dance and music emerge from there, forming the “whole” of man where we began the analysis of his work.
Born on September 4, 1888, he would be 130 years old today, the reason he’s in Google.
Julia 1.0: A new computing language
03
Sep
When the scenario of computing lijaguajes no longer seemed to present novelties, an audacious project of 
MIT arises that can change this logic, it is the language Julia, it is unnecessary to say that it is open source.
At a London event in 2018, the JuliaCon for developers: Professor Alan Edelman, Jeff Bezanson, Stefan Karpinski and Viral Shah released Julia 1.0, Edelman declaimed at the time: “Julia has been revolutionizing scientific and technical computing since 2009,” worked since this year in a new language that combined Ruby, MatLab, C, Python, R and others besides having parallel features, artificial intelligence and easy connection with semi-structured databases. The commands are similar to the already popular C, C ++ and Java, for example, the program of calculation of the roots of the equation of the 2º. Degree:
function quadratic2 (a :: Float64, b :: Float64, c :: Float64)
sqr_term = sqrt (b ^ 2-4a * c)
r1 = quadratic (a, sqr_term, b)
r2 = quadratic (a, -sqr -term, b)
# can return multiple values without using the return word ~
r1, r2
end
The version released on August 7, 2018, and its stable version the next day called Julia 1.0 puts it definitively in the universe of the programming languages of the present time.
The release candidate for Julia 1.0 (Julia 1.0.0-rc1) was released on August 7, 2018 and the final version one day later.
The team wrote that code that runs without warnings in Julia 0.7 will run identically on Julia 1.0. Julia uses JIT (MCJIT from LLVM) that generates native machine code directly, before a function is executed for the first time, are not bytecodes executed in a virtual machine (VM) or translated as the running bytecode, as copor example, Java, the JVM or Dalvik on Android, is even native code.
Julia is also used to drive standalone cars and 3-D printers as well as applications in precision medicine, augmented reality, genomic structures, machine learning and risk management.
As Professor Edelman said: “The release of Julia 1.0 indicates that Julia is ready to change the technical world by combining high-level productivity and ease of use of Python and R with the fast speed of C ++”, changes come there.
