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The reduction of the divine to human environment
28
Jun
It is possible to deny the existence of God, the
argument of the evidence is naive, being neither logical as some modern rationalists wanted, nor human as some German idealists wanted and nor ontological as presented by Saint Anselm.
There is a truth that comes from Socrates that says that it is not with men, but among men, this means that it is both ontological and complex at the same time, and one can not deny the historical existence of Jesus, whether by his historical birth at a time when sense was obligatory, for this was born in Bethlehem, and the record of his death and crucifixion which is told by historians of the time, including Josephus and by Jewish historiography.
But what Nietzsche, born in a family of Lutheran religious has seen beyond his time, is a philosophical and historical evidence of the death of God, through his human epiphany through the historical figure of Jesus, at least to Christianity, while God can be thought of innumerable eschatologies present in almost every culture so as not to be exhaustive, for even the so-called barbarian peoples had some form of divinity.
But the cry of Nietzsche’s madman is the realization of the construction of idealist and positivist philosophy that he wished to take as a single discourse on reality, Thomas Aquinas and other medievals were realistic as a philosophical current, now has a dark sunset.
From this isolationist, individualistic and separatist philosophy of the world three forms of collective heresies follow: a merely human God, a purely divine God, and a total absence of the third divine person: the Holy Spirit, for whom there is no forgiveness.
This sin is not the mere denial of God, but its concrete negation is the negation of the Other. Teilhard Chardin says about the inclusion of the Other that this is the “divine medium”, the typical mystique of our time, which can also be expressed as “where two or more are in my name” (Mt 18:20), which is a “and you who say that I am” (Mt 16:15), which follows several passages of the relationship with the World and with God.
One can say that there are two reductions: the merely human and the merely divine, but the main reduction is the ignorance of a third reduction which is that of the action of the Holy Spirit. In the reduction of the divine, Jesus in miracles almost always asked for a description or made allusion to the faith of the healed, the gifted or just the wonder of contact like the blind Bartimaeus, the prophet Ana, Simeon, the paralytics, lepers or the woman to whom he directs word.
True eschatology sees not only principle or end, but both in relation to the daily life of human life, Teilhard Chardin makes reflection in the book The divine medium (1957): “the slowly accumulated tension between Humanity and God will reach the limits fixed by the possibilities of the world, and then it will be the end … that we should expect not as a catastrophe but as a ‘surrender’ to the world to which we must collaborate with all our Christian forces without fear of the world, because their spells could no longer hurt those to whom he has become, beyond himself, the Body of him who is the One who comes.”
Like the evangelist Luke (Luke 9:20), Matthew also repeats Jesus’ question to the disciples, Mt 16:15: “But who do you say that I am?”
CHARDIN, T. O meio divino (The Divine medium: Essay of inner life). Lisbon: 1957. (in portuguese).
The Monotization of the World
14
Nov
So begins the text of Stefan Zweig on his impression of the contemporary 
world: “Everything is becoming more uniform in its outward manifestations, all flush with a uniform cultural scheme. The characteristic habits of the individual people are being worn, the native clothing giving way to the uniforms, the customs becoming international.
Countries seem increasingly to have slid simultaneously to each other; the activity and vitality of people follows a unique scheme; cities grow more and more alike in appearance. “(Zweig, 1925)
With this quotation I also begin the presentation booklet with Dr. Jônatas Manzolli, Professor of Arts at Unicamp, in our joint work: “Transmediatic architecture of the Ode To Christus Hypercubus”, which is presented on fryday at the Palácio de Ceia in Lisbon, with the pianist Dra. Helena Marinho and the soloist Beatriz Maia, both from the University of Aveiro.
This small report intends to present, besides the ode, Photographic work and animation that relate music, images and a hologram in 3D dimensions with an imaginary space hypercube that extrapolates this dimension, inspired by the work of Salvador Dali: Christus Hypercubus.
It is for that reason inspired in the Mystical Manifesto of Salvador Dali of 1950 is a decisive phase and that changes the very conception of Salvador Dali, it can be said for a post-surrealism, in which the mystical influence united the new quantum conception of the emergent Universe (1952) (photo), the Disintegration of Persistence of Memory (1954), The Last Supper (1955), and the Discovery of America (1958-59) are works of this phase.
The Artefacto 2018 event takes place in Lisbon at the Ceia Palace, on November 16 and 17, with several other works that can be found on the event’s website.
ZWEIG, Stefan (1925) “The Monotonization of the World” Disp. em: germanhistoryDocs.gh.dc.org .
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
Time of being
29
Oct
There is a time of not being, we are complaining today of the acceleration, but Chul-Han’s
diagnosis in The burnot Society is not so distant from that made by St. Augustine 14 centuries ago: “What is time? How are the past and the future, since the past is no longer and the future is not yet? “And the present? We barely say “now” and it has already fallen in the past “, this in a time when neither the technology of the press existed, what changed then?
Salvador Dali’s picture gives us an idea about the “persistence of memory” and the right to forgetfulness sanctioned by the European Union court on May 13, 2014 gives the diagnosis of a modern “disease”: hyper connectivity, in a Brazilian slang: we enter the “stack”.
The aid of machines that should give us rest periods in transmitting part of our work to them, and being able to perform long tasks faster should give us rest, but we no longer know how to have the period of contemplation and leisure, it seems to be “a time lost”.
We blame this acceleration for the machine of efficiency, concentration of capital, and other phenomena that predate the internet, there are many authors of the last century who touch the subject, after all Paulicéia Desvairada (Crazy people of St. Paul) (write in 1922) is a well-known novel of Mario de Andrade of 1922, and the first studies of the information explosion in the area of science date back to the 1940s.
Says Mário de Andrade about the artist in his poem dedicated to this:
My desire is to be a painter – Lionardo.
whose ideal in mercy heats you;
making the open to the world of the wide corolla
illustrious dream that I await in my bosom.
My longing is, bringing to the dark background of life.
The color of the Venetian school,
give shades of pink and gold, for alms.
how much there is of Penedia* or thistle.
When you find the source of the inks
and the exalted brushes with which you paint,
Veronese! your pictures and your friezes.
I will live where misfortunes live;
And I’ll live to color smiles.
on the lips of those who imprecate or who weep.
It may be a hard time to do poetry, or to contemplate, but we cannot let the Self-die because of a Time whose fragility is always gone. * (type of rocks group)
And you who say that I am
21
Sep
The truths of the facts only reveal in the truth of the acts, it is so for the daily life, so for the politics
and for the speeches, if we live in the post-truth, it has the limit of the acts.
We like day to day to create narratives more favorable to our convenience and our ideals, but almost always the unveiling exists beyond language and speech.
The creation of a logical intelligence, in deeper layers now called Deep Mind or Deep Learning, is nothing more than the artificial response to the virtual world, part of the real next to the current one, a logic consistent with the action, the human will always be some dyslexia.
Full consciousness is linked to full dialogue, where discourses can interpenetrate in the hermeneutic circle, the difference with artificial intelligence is that the machine learns from humans, but it will be difficult for it to escape from formal logic, while the human is ontological.
This means that we are in the age of Being, a deeper manifestation of what we are, and contrary to what anti-technology discourse supposes, it is precisely this that can help human speech in the essential aspects of logic, which we sometimes falsify to be correct .
Historically technology is not displaced from human needs, it is often the poor adaptation or use of human relationship with technology that causes some disruption and misunderstanding of its true role, which is to assist the craft, art and technique, says the Greek origin of the word techné.
In the biblical passage that Jesus tests his apostles, he asks: “And you who say that I am” (Mt 16:15), for some was a great prophet, for others a return from Elijah or even from Moses, not always God , that is, the Divine wisdom between us.
The reprehensible use of the evangelical message in politics is not for the fact that they should be outside the interests of the common good and of society in general, but it is the possibility of instrumentalizing and using in favor of a certain discourse that is not always coherent with the gospel
Revolutionary method for videos
19
Sep
Researchers at Carnegie Mellon University have developed a method that without human intervention
modifies a video content from one style to another. The method is based on a data processing known as Recycle-GAN that can transform large amounts of video making them useful for movies or documentaries.
The new system can be used for example to color films originally in black and white, some already made like the one shown in the video below, but the techniques were expensive and needed a lot of human effort during working hours.
The process arose from experiences in virtual reality, which in addition to the attempts to create “deep falsities” (altering objects or distorting contents, could appear a person inserted in an image, without it was allowed, in everyday scenes almost always happens this and much people do not accept.
“I think there are a lot of stories to tell,” said Aayush Bansal, a Ph.D. student at the CMU Robotics Institute, who said of a film production that was the main motivation to help design the method, he said, allowing that the films were produced faster and cheaper, and added: “it is a tool for the artist that gives them an initial model that they can improve,” according to the CMU website.
More information on method and videos can be found at Recycle-Gan website.
There is way, this is a method
13
Sep
Beyond the historical truth, opposed to hermeneutics (Shcleimacher) and romantic historicism (Dilthey), Gadamer deals
with the question of truth linked to both religion and art, a transdisciplinary anticipation, and perhaps perhaps its “method” (see our previous post the Ricoeur question), put it this way: “A cultured society that has fallen away from its religious traditions expects more from art than the aesthetic consciousness and the ‘standpoint of art’ can deliver.
The Romantic desire for a new mythology… gives the artist and his task in the world the consciousness of a new consecration. He is something like a ‘secular saviour’ for his creations are expected to achieve on a small scale the propitiation of disaster for which an unsaved world hopes.” (Gadamer, 1989), of course, salvation here would be earthly and not heavenly.
In fact, it is what we understand by history that makes us skating at levels of tradition, says Gadamer on history “In truth history does not belong to us but rather we to it.” (Gadamer, 1989)
Gadamer explains the difficulties not only historical, but mainly the prejudices linked to tradition: “It is the tyranny of hidden prejudices that makes us deaf to what speaks to us in tradition.” (Gadamer, 1989)
And agree in this dialog´s difficult: “We cannot understand without wanting to understand, that is, without wanting to let something be said…Understanding does not occur when we try to intercept what someone wants to say to us by claiming we already know it.”
It indicates how to put this into practical and real plans: “What man needs is not just the persistent posing of ultimate questions, but the sense of what is feasible, what is possible, what is correct, here and now. The philosopher, of all people, must, I think, be aware of the tension between what he claims to achieve and the reality in which he finds himself.” (Gadamer, 1989)
It is necessary to foresee (virtually) possibilities, but to be able to adapt them within the real possibilities, so there is no romantic hermeneutics or historicism, both must bear in mind the realities and interpret them.
Gadamer, H.G. Truth and Method, 2nd edn, Sheed and Ward, London 1989.
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.
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.
Hologram make success
26
Aug
Of unexpected firmness, a singer who is a three-dimensional hologram, Hatsune Miku conquered
crowds for her shows in various cities of Japan.
Hatsune fans, which is a holographic production simulating a 16-year-old girl, shake their luminous apathetic and shake during the show as if the artist were real.According to the Daily Mail report, Hatsune’s voice was created with voice samples from Japanese actress Saki Fujita. All these samples contain sounds that, when placed in series, become words and phrases.
Now the creators of the hologram can compose any song that the “avatar” will sing even without much elaboration.
