Arquivo para November, 2017
Planetary coonsciousness and vigilance
30
Nov
Looking at planetary consciousness only from Europe, although it is an 
addictive look, it is the gaze that points paths to the West, the philosopher Petr Sloterdijk in his book “If Europe Awakens” (2002), points the year zero of the current consciousness like the defeat of the possibility of an “Empire of the Center” with Nazism, according to his analysis, in a reflection that already lasts two generations.
It reminds the author of what Nietzsche said about the “compulsion of great politics” to be filled with a new contemporary content, after the end of the vacuum in which the tragic harvest of totalitarianism and world wars was swallowed, in a way similar to what Morin points out in his book “Earth-Motherland”, that is, the search of foundations for a planetary citizenship, but it is necessary to watch because the ghosts of world wars and totalitarianisms still roam the planet.
Chapter 6 begins with a significant epigraph (Sloterdijk, p.65): “Europe must invent a form of unity that is not that of an empire” by Jacques Le Goff, that is, to create a new form of politics that does not is more development based on the exploitation and oppression of other peoples.
It is as the Bible states in the Gospel of Mark: “He is like a man who, when he went abroad, left his house under the responsibility of his servants, distributing to each one his task. And he commanded the porter to keep watch “(Mk 13:34), and if in the past it was said that the price of freedom is eternal vigilance, it can be said today that the price of overcoming the crisis is to watch over them not to be triggered processes that prevent the growth of a planetary consciousness about world citizenship.
Throughout the book he develops what he calls the “visions” policy, compatible with his ontological-hermeneutical origin (heidegger and critic of Heidegger’s thought and lived with Safranski who is the best biographer of this), which means to promote cultural dialogue between people, allowing the culture and the ‘vision’ of each one.
So if Europe awakens, it will have “achieved the feat of producing, under its own direction and in public debate, the vision by which it must be led and driven – and then acting upon that vision, as if this new self-constituted motive had so much power to release accelerating forces as an old and very incarnate mission. “(SLOTERDIJK, 2002, 72)
In this sense it is also necessary to watch and react to the warmongering that can make the planetary consciousness recede, but not the diversity that implies in the emergence of nations and affirmation of their cultures unreservedly.
SLOTERDIJK, P. Si l’Europe s’éveille. Paris: Mille et une nuit, 2003 .(pages in brazilian edition).
Consciousness and the planetary crisis
29
Nov
If the picture seems complex to the man of the 21st century awakening,
one can not sharpen the planetary consciousness, Morin (2003) points out 6 process on pages 36 and 37 in his book “Earth-homeland”:
“The Persistence of a Global Nuclear Threat The atomic threat has been and continues to be a factor of planetary awareness. The great virulent fear of 1945-1962, anesthetized under the balance of terror, reawakens. “, By unfortunate coincidence North Korea has just launched a ballistic missile into the sea of Japan, the provocation remains.
“The formation of a planetary ecological consciousness The object of ecological science is increasingly the biosphere as a whole, as a result of the multiplication of degradations and pollution on all continents and the detection since the 1980s of a global threat to the life of the planet, “among the many contestations of the Trump government, the most effective and compelling has been the ecological issue because it threatens even deals with the Eurozone and also internally, California Governor Jerry Brown has announced on video that a a major meeting on climate change will be held in San Francisco in 2018, in clear opposition to the US government.
“The entry into the world of the third world The decolonization of the 1950s and 1960s brought to the forefront of the Globe 1.5 billion human beings, hitherto disowned by the West in the shallows of history,” it is well noted that Morin wrote this before humanitarian crisis provoked by the war in Syria, and African and Arab immigration is growing in Europe.
“The development of civilizational globalization is developing for the worse and for the better: for the worst, it brings irremediable cultural destruction; homogenizes and standardizes customs, habits, consumption, fastfood, travel, tourism; but this globalization also works for the best because it produces habits, customs, common life styles across national, ethnic and religious boundaries, breaking a number of barriers of misunderstanding between individuals or peoples, “Europe is changing its features and customs , while third world countries increasingly adopt globalized customs.
“The development of a cultural globalization While the notion of civilization covers essentially everything that is universalizable: techniques, utilitarian objects, skills, modes and lifestyles based on the use and consumption of these techniques and objects, the notion of culture covers everything that is unique, original, proper to an ethnic group, to a nation, “but contrary to what was thought to have reappeared nations like Armenia and Macedonia, several” former Soviet republics “and others struggle to emerge: Kurdistan and Chechnya,
Emerges a planetary folklore, like “the jazz that branched out in diverse styles from New Orleans, the tango born in the port district of Buenos Aires, the Cuban mambo, the waltz of Vienna, American rock that in turn produced differentiated varieties all over the world … the Indian zither of Ravi Shankar, the Andalusian Flemish, the Arabian melopeia of Oum Kalsoum, the Huayno of the Andes; led to the syncretism of salsa, rai, and flamenco-rock. “(Morin, 2003, page 39)
The planetary´s crisis and its origins
28
Nov
Edgar Morin in his book Terra-Pátria explains that the growth of the
planetary place of citizens in modernity, began with the globalization of the globe, which made Cristovão Colombo reach America and Vasco da Gama make the way from the coast of Africa to the Indies, but this was a way of changing the land route through India and China, historically the contempt for “civilized barbarians.”
Morin wrote: “From the beginnings of the planetary age, the themes of the” good savage “and the” natural man “were antidotes, very weak, indeed, to the arrogance and contempt of civilized barbarians. In the eighteenth century, the humanism of the Light attributes to every human being a spirit that is apt to reason and gives it equal rights “(Morin 2003: 26)
The idea that Europe, first London after Paris, and now Germany, would be the most advanced cultures have led to: “Beethoven’s music, Marx’s thought, the message of Victor Hugo and Tolstoy address the whole of humanity. Progress seems to be the great law of human evolution and history “(idem), but did it really involve the globe, or was it a time of colonial wars, then two great wars and still a process of doubtful development.
We leapt up and in the postwar period, confidence re-emerged: “Great hopes for a new world of peace and justice came to fruition with the destruction of Nazism, in oblivion or ignorance that the Red Army was bringing liberation, but another bondage, and that colonialism had resumed its action in Africa and Asia “(Morin, 2003, 32).
Quoting the Gulf War and Kuwait War (1990 and 1991), they have shown that: “The collapse of Eastern totalitarianism will not long hide the problems of economy, society, and civilization in the West, will not reduce the problems of the third (Morin, 2003: 32), showing a line of fracture in the Middle East and the Arab world, the book is a prior one but one can cite the question of the Syria and North Korea, current fractures.
Morin brings to the future now full of problems: “But the truth is that world history has resumed its turbulent march, running to an unknown future, at the same time that it returns to a vanished past” (Morin 2003: 33). calls this phase of democlean: “In 1945, the Hiroshima bomb made the age of planetary iron enter a democran´s phase.” (idem).
It pointed well before the world crisis of returning to nationalism in the elections, that this was already in Morin, he pointed out well before the world crisis of returning to nationalism in the elections, that this was already in Morin: “In a dialogical made world between the forces of cultural, civilizational, psychic, social and political integration and disintegration, the economy itself became increasingly globalized more and became more and more fragile; thus, the economic crisis that arose in 1973 from a shortage of oil goes through several avatars without being really solved.” (Morin, 2003, 34)
What is this crisis?
27
Nov
We post a long review of the Brazilian philosopher Mário Ferreira dos Santos, little known but not
less important, states in his book (actually was recompiled) The philosophy of the Crisis, which despite affirming that we have already saved ourselves: “we saved ourselves skepticism and dogmatism, which are two positions of crisis on the gnosiological possibility of man “(Santos, 2016, 79), we have to go beyond this to have a worldview (or cosmogony that I prefer):” and consequently , to have a critical view of the crisis of finite existence.” (idem)
So we need to go further, Edgar Morin in a lecture said that he is beyond the crisis of the economy (he does not say but would say beyond the political crisis), is “a crisis of thought, Western civilization”, Mário Ferreira also makes this distinction since the Eastern and even the Arab (little quoted) are different, if they are in crisis, I think they are.
He affirmed in his lecture “The road to the future of humanity” that the current crisis “is the crisis of this humanity that can not become humanity”, and therefore is not “outside of it”, in the objects and in the political, but “within” it because the processes that are conducted today lead us to “a future catastrophe”, in the video can be understood.
It states that globalization is the worst and the best of the things that could happen, worse because weapons were produced on a world scale capable of destroying the planet and the various types of fanaticism and fundamentalism can lead to war, and it is better because “all the human beings of all the continents are reunited, without they knowing, reunited in the same community of destiny. ”
We know that the “world economy has no real regulations”, and the growing degradation of the biosphere, as well as the poor distribution of income, can lead us to a crisis even greater than the one we experienced in 2008, which seems latent.
It is if we are “reunited in the same community of destiny”, we are faced with the possibility that “a new world is born”, and it will be a new time to come, an advent, a new “arrival.”
It is necessary to develop a society on a world scale, in which “the internet can play a special role in this democracy,” because it is not a question of creating a world mega state, but a new model of global citizenship.We have a fundamental problem that this world community “reveals” to us, I would say that it is unveiled, because it will no longer be possible to remain “veiled” or re-veiled, which in this case would be how some want to make the world “de-globalized” in his lecture Morin reminds us of the positive effects of “interdependence”, “of exchanges” and of reaching a “new world” where local cultures survive.
Arte ideal, representação e revelação
24
Nov
To see one thing one has to see beyond the apparent, that is, what Rancière
has already called (see in the previous post) of double vision, which means to see two things at the same time, is “not a matter of trompe l’oeil or effects. It is a problem of relations between the surface of the exposition of the forms and the inscription surface of the words” (Ranciere, 2003, p.89) and therefore can not be a play of illusions, or that idealist painting seeks the ideal of forms under immediacy of presence, that style of “dead nature” or “scenes of customs.”
This art which aimed at re-presentation or re-veil-action, we note well the etymology of these words that give them a more correct sense, that is, of renewing the presence and the other, of renewing the veil that covers the image, to see, therefore, it is not the “mediation of the words that configure the regime of the” mediaticisms” of presence.” (Rancière, 2003, p.89).
The imaginary, the playful and the spiritual escaped for a long time, but a revival began again with Kandinski, Henri Matisse and other more contemporary Pablo Picasso, Miró, a classic example was Matisse’s Dance II (in pincture), whose idea of the painting would have arisen from a dance of the roda called “The Sardana” of the south of France, and was commissioned by its Russian patron Sergei Schukin, to be exposed in the Palace of Trubetskoy next to another work of Matisse “The Music”.
The sinuous dance in which the movement is transported to the bodies and legs is intentional to affirm the involvement of the dancers, and this representation in a circle becomes an eternal presentation and the re-enlightenment becomes an unveiling, that is, to remove the veil of what is hidden and therefore the nakedness of the bodies, which the patron Sergei would have disagreed at first, but after seeing the sketch would have changed at the beginning, that is, it is not the nudity but of the signification that has the dance that is the harmonious involvement of the dancers.
The ideal of form becomes forms of ideals, what Matisse himself said to look for in his art: “My sleep is to realize an art of balance, purity and serenity.”
The perfect interaction between these dancers is not an idealism, but the search for interaction between people, peoples and cultures, the dream of Matisse.
There is a time of blindness, not only in the world of culture and as a consequence of art, but also social, political and even religious blindness, what José Saramago describes in his “Blindness Essay” by a driver who suddenly stands blind in a sign, in this the author seeks to remind us “the responsibility of having eyes when others have lost them.”
Art is a wonderful way to make us see and recover the lucidity, serenity and balance that are lacking to this day, while being bold and purposeful.
RANCIÈRE, J. O destino das imagens. Rio de Janeiro: Contraponto, 2003.
Art, autonomy and see
22
Nov
OWhat remains veiled in recent art and which is present in Hegel’s 
discourse, and even more so in the apparent rupture with the departure of the “plane” to the three-dimensional forms of the “polite” is still an idealist art of what Hegel called “autonomy” and that due to this idealism, Rancière called “autonomization.”
Rancière clarifies that it is autonomization: “one of these elements, the ‘breakdown of the threads of representation’ that bound them to the reproduction of a repetitive way of life. It is the substitution of these objects for the light of their appearance. From that point on, what happens is an epiphany of the visible, an autonomy of the pictorial presence. “(Rancière, 2003, p.87)
This autonomization is ultimately the famous “art for art” or in the opposite sense of “utilitarianism of art,” but both can not deny either the specific aspect of art and its connection with words or their usefulness “as useful as useful, “the writer Vitor Hugo would say, but it is about accepting the emancipation of the spectator through” interaction. ”
See Rancière writes in art: “Whether it be a Descent from the Cross or a White Square on a white background, it means to see two things at once” (Rancière, 2003, p.87), which is a relation between “the exposition of the forms and surface of inscription of words. “(ibidem), where the presences are” two regimes of the braid of words and forms. ”
To understand the problem of vision Rancière uses the painting of Gauguin Peasants in the field, there is a “first picture: peasants on a picture look at the fighters in the distance” (Rancière 2003: 95), the presence and the way they are dressed show that it is something else then a second picture arises: “they must be in a church” (idem), to make sense the place should be less grotesque and realistic and regionalist painting is not found, then there is a third picture: “The spectacle that it represents has no real place. It is purely ideal. Peasants do not see a realistic scene of preaching and fighting. They see – and we see – the Voice of the preacher, that is, the Word of the Word that passes through this voice. This voice speaks of Jacob’s legendary combat with the Angel, of terrestrial materiality with heavenly ideality. “(Ibid.)
In this way, Rancière affirms, the description is a substitution, the word for the image, and substitutes it “for another living word, the word of the scriptures” (Ranciere, 2003, 96)
It also makes a connection with the pictures of Kandinsky,he writes In the space of the visibility which his text constructs Gauguin’s painting is already a picture like those that Kandinsky will paint and justify: a surface in which lines and colors become more expressive signs obeying the unique coercion of ‘inner necessity'” (Rancière, 2003, p. 97), and we have explained earlier that it is not pure subjectivism because it makes a connection with both the inner thought and the thought about the description in the picture.
The important thing is the symbiosis between the image, the words and the vision resulting from a “unveiling” of the image that can be translated into words.
“Flat” painting, word and thought
21
Nov
The new is built in dialogue with tradition, not the one that is closed and
impermeable, but the one that allows this dialogue for the greatness of its construction, which is the case of “flat” painting and on which one can build the future of as Jacques Rancière claims.
impermeable, but the one that allows this dialogue for the greatness of its construction, which is the case of “flat” painting and on which one can build the future of as Jacques Rancière claims.Rancière clarifies: “the surface claimed as media (médium) of pure painting is actually another medium (Rancière, 2003), so it can be understood that the media is nothing other than a medium, or what some areas of knowledge call it support, but media or mediums are more current words and refer to “new media”.
His criticism of Greenberg is because his formalism “wants to match intermediate (medium) and material, Kandinsky’s spiritualism, which makes him a spiritual milieu, are two ways of interpreting this disfigurement. Painting is flat as words change their function of relation to it. “(RANCIÉRE, 2003, page 88)
Rancière will give her a representative order, which she says is a “model or norm”, is something new, because if the word lacks subjectivity the painting seems to lack objectivity, even if this classical separation is idealistic, it exists and is almost a norm in modernity.
He develops his reasoning: “as poems, as profane or sacred history, they drew up the arrangement which the composition of the painting should translate.” (RANCIÉRE, idem)
Here the word is linked: “Jonathan Richardson recommended to the painter to write the story of the picture first, to see if it was worth painting” (idem), then there is the connection.
He explains that the aesthetic criticism that emerges from the romantic era is not normative, does not admit to saying what the picture should be, says only what the painter did, is the absolute idea realized.
But the misconception is “to articulate in a different way the relation of the sayable as the visible, the relation of the picture to that which it is not. It is to rephrase in another way the how of the ut pictura poesis, how art is visible, by which its practice coincides with looking and depends on a thought. “(RANCIÉRE, 203, ibid.)
And I would say almost conclude: “art has not disappeared. It has changed place and function “(idem), that is, one can not deny its relation to the thought and the eye, in which everyone agrees, but they do not agree that the”depends on the thought” and this depends on models and norms, ultimately ideals and ideologies .
Neiither point, neither flat nor polite
20
Nov
Contemporary art expressed in the digital world, extrapolates the human senses
being synesthesia, multisensory and multidimensional; not only as the plane because it is not its starting point but mainly in the way of establishing connections between bodies going beyond spoken and painted, to the projected and multi sensitized.
The starting point is then the fractal, where there are no 0 (dot), 1, 2 or 3 (three-dimensional) dimensions, and the critique of the plane starts there but goes from on-off devices, through the senses until arriving at augmented reality and projected reality: the holographic and the virtual.
The analysis made by Jacques Rancière in The Destiny of Images, which starts from the idea that word and painting are inverted where: “the power of words is no longer the model that representation must have as a norm” (Rancière, 2003, p. )
Taking up the classic analyzes of Hegel “pioneering in this work of redescription that, in front of the works of Gerard Dou, Teniers and Adrian Brouwer, as of the works of Rubens and Rembrandt, throughout all the romantic period, elaborated a visibility of a painting” flat ” (emphasis added), of an ‘autono- mous’ painting … the real pictures despised by Hegel, is not what we see at first. “(Rancière, 2003, p.87), which provides the” rupture of the representation ‘that linked the reproduction of a repetitive model of life “and would add” idealist “(RANCIÉRE, 2003, idem).
But there will be the opposite movement and “Greenberg opposes the naivety of Kandinsky’s antirepresentative program to the idea that it is not the abandonment of figuration but the conquest of the surface that is important” (Rancière, 2003, ibid.).
What the French Henri Matisse (1869-1954) and the Russian Wassily Kandinsky (1866-1944) explored are more than colors, shapes and new surfaces (like the fractals) there is something of the “spiritual” blend in Composition VII and the Caracol of Matisse (in the figures).
Of course this is not a digital art directly, but an epiphany of rupture with form.
being synesthesia, multisensory and multidimensional; not only as the plane because it is not its starting point but mainly in the way of establishing connections between bodies going beyond spoken and painted, to the projected and multi sensitized.The starting point is then the fractal, where there are no 0 (dot), 1, 2 or 3 (three-dimensional) dimensions, and the critique of the plane starts there but goes from on-off devices, through the senses until arriving at augmented reality and projected reality: the holographic and the virtual.
The analysis made by Jacques Rancière in The Destiny of Images, which starts from the idea that word and painting are inverted where: “the power of words is no longer the model that representation must have as a norm” (Rancière, 2003, p. )
Taking up the classic analyzes of Hegel “pioneering in this work of redescription that, in front of the works of Gerard Dou, Teniers and Adrian Brouwer, as of the works of Rubens and Rembrandt, throughout all the romantic period, elaborated a visibility of a painting” flat ” (emphasis added), of an ‘autono- mous’ painting … the real pictures despised by Hegel, is not what we see at first. “(Rancière, 2003, p.87), which provides the” rupture of the representation ‘that linked the reproduction of a repetitive model of life “and would add” idealist “(RANCIÉRE, 2003, idem).
But there will be the opposite movement and “Greenberg opposes the naivety of Kandinsky’s antirepresentative program to the idea that it is not the abandonment of figuration but the conquest of the surface that is important” (Rancière, 2003, ibid.).
What the French Henri Matisse (1869-1954) and the Russian Wassily Kandinsky (1866-1944) explored are more than colors, shapes and new surfaces (like the fractals) there is something of the “spiritual” blend in Composition VII and the Caracol of Matisse (in the figures).
Of course this is not a digital art directly, but an epiphany of rupture with form.
RANCIÈRE, J. O destino das imagens. Trad. . Rio de Janeiro: Contraponto, 2003.
Governance, talents and religion
17
Nov
And he that had received two talents came, and said, Lord, thou hast delivered unto me two talents. Here are two more I will make. ‘ The master said to him, ‘Well done, good and faithful servant! Since you have been faithful in administering so little, I will entrust you with much more. Come join in my joy! ‘
Finally he came to the one who had received a talent, and said, ‘Lord, I know that you are a stern man, for you reap where you have not planted and reap where you have not sown. So I was scared and hid your talent on the ground. Here you have what belongs to you. ‘
The master replied, ‘Evil and lazy servant! Did you know that I harvest where I did not plant and reap where I did not sow? So, “you should have deposited my money in the bank, so that when I returned I would receive with interest what belongs to me.”
It seems a perverse logic, even financial, but it is not, in order not to bury talents, it is necessary to make “surrender” what one has, to apply it to be an economy of multiplication of the loaves and of overcoming misery, of course we all know , there are people who interpret this parable for the enrichment of a few, is not what is said.
